Percy  Goetschius 

The  Hornophonic 

Forms 

of. 

Musical 
Co  mp  os  it  ion 


New  York   G.Sch  irm  e  r 


THIRD   EDITION 
THE 

JTOMOPHONIC   FORMS 

OF 

MUSICAL  COMPOSITION 

AN     EXHAUSTIVE     TREATISE     ON     THE     STRUCTURE 

AND     DEVELOPMENT     OF      MUSICAL     FORMS, 

FROM   THE  SIMPLE   PHRASE   TO   THE 

SONG-FORM    WITH    "  TRIO  " 

FOR   THB   USB    OF 

Ocncral  ant>  Special  Students  of  flDusical  Structure 


PERCY   GOETSCHIUS,    Mus.   Doc. 

,., 

{Royal  Wurttember^  Professor) 


AUTHOR  OF 

"THE  MATERIAL  USED  IN  MUSICAL  COMPOSITION" 
"TUB  THEORY  AND  PRACTICE  OF  TONE-RELATIONS" 
"MODELS  OF  THE  PRINCIPAL  MUSICAL  FORMS,"  KTC. 


NEW  YORK : 
G.   SCHIRMER 


LIBRARY 

UNIVERSITY  OF  CALIFORNIA 
DAVIS 


MT5S 


COPYRIGHT,  1898,  BY  G.  SCHIRMER 


13710 


PRINTING  HOUSE. 
NEW  YORK. 


To 
.  1b.  Hx  H.  Beacb 

AS  A  CORDIAL  TRIBUTE 

TO  AN  EMINENT  WOMAN-COMPOSER 

OF 

AMERICA 


PREFACE. 


I. 

This  book  undertakes  no  more  than  the  systematic  enumeration 
and  exhaustive  explanation  of  all  the  formal  designs  and  methods 
of  structural  treatment  in  the  homophonic  domain  of  musical 
composition,  as  revealed  in  classical  or  standard  writings.  The 
student  who  aims  to  acquire  the  Science  of  composition,  is  expected 
to  imitate  these  designs  and  methods,  and  to  look  for  additional 
illustrations  and  confirmations  in  general  musical  literature.  This 
will  develop  skill  and  facility,  will  induce  correct  habits  of  musical 
thought,  will  enrich  the  mind  with  a  fund  of  resources,  and 
stimulate  the  imagination  to  increased  responsiveness  and  activity. 

But,  further  than  this,  the  book  lays  no  claim  to  furnishing 
clues  to  the  subtle  Art  of  composition.  In  converting  his  theoreti- 
cal knowledge  into  successful  practice, — into  a  means  to  an  end, — 
the  student  can  appeal  to  no  other  authority  than  that  of  his  own 
fancy,  good  taste,  and  natural  or  acquired  judgment. 


II. 

The  examples  given  for  reference  must  be  inspected, — if  not 
totally,  at  least  in  great  part.  No  student  should  hope  to  be 
entirely  successful  and  efficient  as  a  composer  without  possessing 
quite  extensive  acquaintance  with  the  products  and  processes  of 
successful  writers.  Therefore,  the  pupil  must  regard  the  conscien- 
tious examination  of  these  carefully  selected  quotations,  as  a  very 
significant  and  distinctly  essential  part  of  his  study.  This  applies 
more  especially  to  the  works  cited  in  Divisions  I,  II  and  III. 

Some  of  the  works, — those  to  which  constant  or  frequent 
reference  is  made, — he  must  endeavor  to  own  ;  for  example  : 

The  Pianoforte  Sonatas  of  BEETHOVEN,  HAYDN,  MOZART  and 
SCHUBERT ; 

The  Symphonies  (arr.  for  2  hands)  of  BEETHOVEN  and  HAYDN  ; 
The  Bagatelles  of  BEETHOVEN  ; 


The  "  Songs  without  Words  "  of  MENDELSSOHN; 
The  Mazurkas,  Nocturnes  and  Preludes  of  CHOPIN  ; 
The   Pfte.    works  of  SCHUMANN    (op.  12,  15,  68,  82,  99,  124), 
and  of  BRAHMS  (op.  10,  76,  79,  116,  117,  118,  119)  ; 

And  some  of  the  Songs  of  SCHUBERT  and  SCHUMANN. 


III. 

The  author  hopes  and  expects  that  the  book  will  prove  quite 
as  necessary  and  useful  to  the  general  music- student,  as  to  the 
prospective  composer ;  a  knowledge  of  homophonic  musical  struc- 
ture being,  undeniably,  of  equal  importance  to  all  musical  artists, 
reproductive  as  well  as  productive. 

The  general  student,  while  studying  and  analyzing  with  the 
same  thoroughness  as  the  special  student  of  composition,  will 
simply  omit  all  the  prescribed  Exercises. 

PERCY  GOETSCHIUS,  Mus.  Doc. 
Boston,  Mass.,  December,  1897. 


TABLE  OF  CONTENTS. 


(Figures  in  parentheses  refer  to  paragraphs.) 


INTRODUCTORY  :  PAGl 

The  requisites  of  musical  composition  .          i 

The  harmonic  fundament      .              .  .2 

Basis  of  chord-succession       .              .  .2 

Ornamentation  of  chords       .              .  .4 

Figuration  of  chords                .              .  .5 

The  Divisions  of  musical  form          .  .         6 

DIVISION    I. 
CHAP.   I.     THE  PHRASE  : 

Definition  (i)              .              .              .  .7 

Beginning  and  ending  (2)                    .  .7 

Perfect  cadence  (3)    .              .              .  .8 

Modification  of  perfect  cadence  (4)  .  .          8 

Harmonic  aspect  of  phrase  (5)  .9 

Approach  to  the  perf.  cadence  (6,  7)  .        10 

Melodic  aspect  of  phrase  (8)               .  .12 

Division  of  phrase-melody  into  members  (9)        13 

Means  of  indicating  melodic  joints  (10)  .        15 

Syntax  of  phrase  (n)  .  .  .16 
Relations  between  melodic  members  (12)  .  16 
Exercise  1. 

CHAP.  II.     THE    HARMONIC    EQJJIPMENT  OF 

THE    PHRASE-MELODY  : 

Styles  of  accompaniment  (13)             .  .19 
Distinction  of  one-,  two-,  three-,  and  four- 
voiced  styles  (14)  .              .              .  .19 
Irregular  harmonic  bulk  (15)              .  .23 
Exercise  2. 


TABLE  OF  CONTENTS. 

CHAP.  III.  THE  DEVELOPMENT  OR  EXTEN- 
SION OK  THE  PHRASE  : 

PAGE 

Processes  of  composition  (16)  .  .25 

Means  employed  in  developing  phrase  (17)  .        26 
Repetition  of  entire  phrase  (18)         .  .        26 

Concealing  perfect  cadence  (18)        .  .        26 

Modifications  of  repetition  (19)  : 

Embellishment  of  melody  (19^)    .  .        28 

Change  of  harmony  and  modulation  (19^)        28 
Change  of  register  (19^)    .  .  .29 

Change  of  style  (19^)         .  .  .30 

Complete  changes  in  course  (19^)  .  .        31 

Interlude  before  repetition  (20)         .  .        32 

Conditions    upon    which    "  repetition"    de- 
pends (21)  .  -33 
Series  of  repetitions  (22)        .              .  -33 
Object  of  repetitions  (23)       .              .              -33 
Exercise  3. 
Extensions  at  the  end  of  phrase  (24)  : 

Repetition  of  second  half  (25^)     .  .        34 

Repetition    or   sequence  of    last    member 

(*s*)f    •  •     36 

Repetition  of  cadence-group  (260)  .  37 

Repetition  of  two  cadence-chords  (26$)    .  38 

Reiteration  of  final  tonic  chord  (26c)         .  40 

Plagal  extension  (26^)        .  .  41 

Object  of  extensions  at  end  (27)        .  .  41 

Exercises  4  and  5. 

Extensions  at  the  beginning  of  phrase  (28).  42 

Extensions  in  course  of  phrase  (29)  :  .  45 

Repetition  of  early  member  (29^;)  .  45 

Sequence  of  early  member  (29$)   .  .  46 

Expansion  of    prominent  tone    or    chord 

(29c)        .  .  48 

Importance  of  "  expansion "          .  .  52 

New  cadence-member  (29^)          .  .  53 

Extensions    in    course,    when     and     where 

appropriate  (30)     .  .  54 

Exercises  G  and  7 . 


TABLE    OF    CONTENTS.  Xi 

CHAP.  IV. 

Chain-phrase  (31)       .  .  .  •  55 

Melody-expansion  (32)  .  .  •  57 

Irregular  phrase-formation  (33)          .  .  59 

Miscellaneous  examples  of  phrase-extension  61 
Exercise  8. 

CHAP.  V.     THE  PERIOD-FORM  : 

Definition  (34)  .  .  .  .62 

Antecedent  phrase  (35)          .  .  .62 

Semicadences  (36)      .  .  .  .62 

Character  of  antecedent  phrase  (37)  .        63 

Consequent  phrase  (38)          .  .  .64 

Construction  of  consequent  phrase  (39)  :       .        64 

Parallel  construction  (39^)  .  •        64 

Opposite  construction  (39^)  .  .        67 

Contrasting  construction  (39^)       .  .        69 

Variety  and  Unity  (40)          .  .  .70 

Exercise  9. 

CHAP.  VI.     EXTENSIONS  OF  PERIOD-FORM  : 

Repetition  of  entire  period  (41)         .              •  72 

Repetition  of  consequent-phrase  (42)             .  73 
Repetition    of    antecedent-phrase,    or    both 

phrases  (43)                                                          .  75 
Exercises  10  and  11. 

Extensions  at  beginning  of  period  (44)          .  77 

Introductory  phrase  .              .              . '              .  77 
"Prelude"  (45)         .              .              .              .78 

Introduction  to  consequent-phrase  (46)          .  78 

Extensions  at  end  of  period  (47)        .              .  79 

Extension  at  end  of  antecedent-phrase  (48)  Si 

Extensions  in  course  of  period  (49)  .              .  82 

Chain-phrase  formation  of  either  phrase  (50)  83 

Codetta  (51)  .              .              .              .  84 
"Postlude"  (52)        .             .             .             .86 

Natural  location  of  extensions  (53)  .               .  87 

Miscellaneous  examples  of  period-extension  87 
Exercises  12  and  13. 


Xli  TABLE    OF    CONTENTS. 

CHAP.  VII.     GROUP-FORMATIONS  :  ' 
Period  with  consequent-group  (54)  .        88 
Distinction  between  "  repetition  "  and  "  re- 
production "  (55):             .  .  .88 
Essentially  different  cadences  .  .       88 
Sequential  reproduction     .  .  .90 
Essential  modifications      .  .  .91 
Period  with  antecedent-group  (56)  .  .       92 
Group  of  phrases,  similar  (57)  .  .       93 
Group  of  dissimilar  phrases  (58)  .  .       95 
Period-group  (59)       .              .  .  97 
Elision  (60)   .              .              .  .  .97 
Exercises  14  and  IB. 

CHAP.  VIII.     THE  DOUBLE  PERIOD  : 

Definition  (61)            ....  101 

Inter-relations  (62)     ....  101 

Cadence-conditions  (63)         .              .              .  102 

Parallel  construction  (64)     .              .              .  102 
Indefinite  transitional  grades,  between  single 

and  double  period  (65)       .              .              .  104 

Contrasting  construction  (66)            .              .  106 

Extensions  of  double  period  (67)       .              .  107 

Addition  of  extraneous  members  (68a)         .  no 
Miscellaneous    examples    of    double-period 

extensions  .  .  .  .  .no 

Quadruple  period  (68<5)          .  .  .in 

Exercises  16  and  17. 

DIVISION   2. 

THE  SONG-FORMS  OR  PART-FORMS. 
Comparative     definition     of      "Phrase," 

"  Part,"  and  "  Song-form  "  (69)  .  -113 

Absolute  definition  of  "  Part  "  (70)  .      114 

CHAP.  IX.     THE  TWO-PART  SONG-FORM  : 

Definition  (71)           .             .              .  115 

Details  of  First  Part  :  form  (720;)      .  115 

Cadence  (72(5)         .              .              .  .     115 

Modulation  (72^)   .              .              .  .116 


TABLE    OF    CONTEXTS.  Xlll 

PAGE 

Details  of  Second  Part  :   form  (73^)-  •      116 

Character  (73^)      .              .              .  .116 

Cadence  (73<")          .              .              .  117 

Two-part  song-form,  primary  design  (74)  .      117 

Coincidence  of  endings  of  two  parts  (75)  .      120 

Exercise  18. 

Diminutive  two-part  song-form  (76)  .      121 

Perplexing    external    resemblance    between 

different  formal  designs  (77)           .  .123 

Exercise  19. 


CHAP.  X.       THE    FULLY    DEVELOPED   TWO- 
PART  SONG-FORM  : 

Definition  (78)            .              .  .  .  125 

Extensions :   repetitions  (79^)  •  •  I25 

Extraneous  adjuncts  (79^)  .  .  125 

Proportion  to  length  of  form  (79^)  .  126 

Large  two-part  form,  as  type  of  Sonatina- 
form  (80)   .              .              .  .  .128 

Exercise  20. 

CHAP.  XI.     THE  THREE-PART  SONG-FORM  : 

Ruling  principle  of  all  tripartite  forms  (8ia)      129 
Distinction     between     "recurrence"      and 

"  repetition  "  (8i£)  .  .  .      130 

Influence   upon   Part   II  of   tripartite    form 

(Sic)  .  .  .130 

The  three-part  period  (82)     .  .  131 

Genuine  species  (830;)  .  .  131 

Irregular  species  (83^)  .  .  133 

Exercise  21. 

Incipient  grade  of  three-part  song-form  (840:)      135 
Details  of  structure  (84^)       .  .  .      135 

Demonstration   of    this    classification    (foot- 
note) .....      138 
Resemblance  between  three-part  period  and 

incipient  three-part  song-form  (84^  .      139 

Exercise  22. 


XIV  TABLE    OF    CONTEXTS. 

CHAP.  XII.  THE  ORDINARY  COMPLETE  THREE- 
PART  SONG-FORM  : 

PAGE 

Definition  (85)  ....      139 

Details  of  Part  I  :   design  (86a),  length  (S6£)      140 
Details  of  Part  II — Thematic  conditions  : 

Total  agreement  with  Part  I  (87^)  .      140 

Derived  from  fragments  of  Part  I  (8y<5)    .      141 

Opposite  construction  (Syc)  .  .      144 

General  formative  agreement  (87^)  .      144 

New  melodic  contents  (87^)  .  .      146 

Tonality  of  Part  II  (88)         .  .  .      147 

Structural  design  of  Part  II  (890)     .  .      149 

Sectional  form  of  Part  II  (89^)          .  .150 

Cadence  of  Part  II  : 

On  dominant  (900:)  .  .  .      152 

On  other  chords  (90$)         .  .  .154 

The  re-transition  (9oc)  .  .  157 

Details  of  Part  III  (91)  .  .  .162 

Extraneous   members  :  codetta  or  coda,  in- 
troduction, interlude  (92).  .  .      164 
Exercises  28,  24,  25. 

CHAP.  XIII.     ADDITIONAL  DETAILS  OF  THE 
SONG-FORMS  : 

Irregular  cadence-conditions : 

Imperfect  cadence  at  end  of  section  (93^)      166 
Perfect  cadence  in  course  of  section  (g^b)      168 

Influence  of  thematic  idea  upon  formal  de- 
sign (9y)   .  .  .      170 

Modulation  :  transient  (94^)  .  .170 

Complete  (94^)       .  .  .  •      I7I 

Two  general  rules  (94^)      .  .  .171 

General  modulatory  design  (94^).  .      172 

Dynamic  design  (950)  .  .  .172 

Other  expression-marks  (95^)         .  .173 

Contrast  (96)  .  .  .  .173 

Style :  time  (97^)       •  •  •  .174 

Tempo  (97<£),  mode  (97^),  rhythm  (97^)  .      175 
Emotional  elements  (97^)  .  .  177 


TABLE    OF    CONTENTS.  XV 

PAGE 

Coda  and  codetta  :  distinction  between  (98)      178 
Object   and   design   of    coda  and   codetta 

(98«)       .  .178 

Derivation  of  coda  and  codetta  (98^)         .      179 
Location  of  codetta  (98*-)   .  .  .      1-80 

Exercise  26. 

CHAP.  XIV.  THE  INCOMPLETE  THREE-PART 
SONG-FORM  : 

Definition  (99)  ....      181 

Distinction  between  incipient  grade  and  in- 
complete form  (99^)  .  .  .  181 

Part  III  a  slightly  contracted  version  of 

Part  I  (993)  .  .  .  .183 

Part  I  briefly  represented  at  beginning  of 

Part  III  (99c)  .  .  .  .183 

Exercise  27. 

Augrnjjjnted  two-part  Song-form  (100)          .      186 

Exercise  28. 

CHAP.  XV.     FULLY  DEVELOPED  THREE-PART 

SONG-FORM  : 

Definition  (101)          ....     188 
Four  stages  of  progressive  development : 
Stage  i,  literal,  or  unessentially  modified 

recurrence  (iO2a)  .  .  .188 

Stage  2,  recurrence  of   portion,  extended 

(102^)      .  .  .  .  .188 

Stage  3,   recurrence  containing  new  ma- 
terial (io2c)          ....      190 
Stage    4,  recurrence    containing    member 

from  Part  II  (1020?)        .  .  .      191 

Corroboration  (103)  ....      193 
'Exercises  29,  30,  31. 
Large  phrase-group  (104)      .  .  .      195 

CHAP.  XVI.  THE  EVOLUTION  OF  THE  FIVE- 
PART  SONG-FORM  : 

Repetition  of  the  divisions  (105^)     .  .      196 

Second  Part  not  to  be  repeated  alone  (105^)      197 
Exercise  32. 


XVI  TABLE    OF    CONTENTS. 

PAGE 

Modified  repetition  of  second  division  : 
Stage    i,  repetition  of   Parts   II   and   III 

with  unessential  changes  (io6#)  .      198 

Stage  2,  transposed  recurrence  of  Part  II 

(io6£)      .  .  .  .  .198 

Stage  3,  Part  IV  a  transposed  and  altered 

recurrence  of  Part  II  (io6c)        .  .     200 

Stage    4,   Part  IV  a  reconstructed  version 

of  Part  II  (io6</)  .  .  .201 

Stage  5,  Part  IV  new  (io6<?)          .  .     201 

Treatment  of  Part  V  (107)    .  .  .     202 

Old-fashioned  rondeau  (loSa)  .  .     203 

Seven-part  form  (108^)          .  .  .     203 

Exercise  33. 

CHAP.  XVII.     IRREGULAR  PART-FORMS  : 

Definition  (109)          ....  204 

Transposed  3rd  Part  (no)     .              .  .  205 

Group  of  Parts,  incipient  stage  (in)  .  206 

Distinct  2nd  Part  (i  1 20)        .              .  .  207 

Repetition  of  2nd  Part  alone  (ii2<5)  .  207 

Sequential    or    transposed    reproduction  of 

Parts  (113)               .              .              .  .  207 

Group  of  Parts,  developed  (114)      .  .  208 

Extended  (115)           .              .              .  .  208 
Exercise  34. 

DIVISION    3. 
COMPOUND  SONG-FORMS. 

Definition  (116)          .  .  .  .210 

CHAP.  XVIII.     SONG-FORM    WITH    ONE 
"TRio": 

Definition  (117)         . 

Details  of  principal  song  (n8a,  6)    . 

Transition  (ii8c)       .... 

Details  of  subordinate  song  or  "  Trio"  : 

Character  (119)       ....      212 
Time  (1190;),  key  (119^)     .  .  .     213 

Tempo  (119^),  design  (119^)        .  .     214 


TABLE    OF    CONTENTS.  XVli 

PAGE 

Re-transition  (119^)  .  .  215 

D;i  capo  (120)  .  .      215 

Coda  (121)     .  .  .  .  .217 

Miscellaneous  examples          .  .  .217 

Relation  of  five-part  form  to   "song    with 

Trio"  (122)  .  .  .  .218 

Exercise  35. 

i 
CHAP.  XIX.     EXTENSION    OF    "  SONG    WITH 

TRIO  ": 

Repetition  of  "  Trio"  and  da  capo  (123)      .     219 
Song-form  with  two  "Trios"  (124)  .     219 

Group  of  song-forms  (125)    .  .  .     220 

Exercise  36. 

DIVISION   4. 
CONVENTIONAL  STYLES  OF  COMPOSITION. 

Classification  (126)    ....  223 

Definition  of  Lyric  class  (1260)         .  .  222 

Definition  of  Etude-class  (126^)         .  .  222 

Definition  of  Dance-class  (i26c)        .  .  223 

Distinctions  approximate  (i26d)       .  .  223 

Sources  of  information  (127)  .  .  223 

CHAP.  XX.     THE  LYRIC  CLASS  : 

Song,  with  \vords.      Details:  text  (1280)      .  224 

Setting  (128*5)         ....  224 
Vocal   compass   (i28c)  ;     mood   of   music 

(i28ct)     .  .  .  .  .225 

Notation  (128^)       ....  225 

Form  (i2S/~)            ....  226 

Accompaniment  (128^)      ...  227 

Instrumental  duo  (129)           .              .              .  228 

Song  without  words,  etc.  (1300)       .              .  228 

Ballade  (130^)                                         ».  229 

"Part-Songs"  (131*2)              .              .              .  229 

Sacred    Text    (131^);     ensemble     (131^); 

secular  text  (13 1</)          .              .              .  230 

Design  (131^)          ....  230 


PAGE 


TABLE    OF    CONTENTS. 

CHAP.  XXI.     THE  ETUDE-CLASS  : 

' 

Etude  or  study  (132)  .  .  . 

Toccata,  capriccio,  etc.  (133(1)  .  .      232 

Scherzo  (133^)  ;    formative  elements  (133^)  ; 

design  (133^)          .  .  .  m     232 

CHAP.  XXII.     THE  DANCE-CLASS  : 

Old  dance-species  (134)          .  .  .     2^ 

Modern  dances  (135)  .  .  .     2^ 

March  (136)  .  .  .  . 


Conclusion :  criticism  (137) 


INTRODUCTORY. 


The  four  most  important  requisites  of  successful  musical  com- 
position are  :  istly,  ample  comprehension  and  command  of  the 
relations  and  associations  of  tone ;  2ndly,  an  active  and  fertile 
imagination ;  3rdly,  a  strong  and  well-balanced  intellect ;  and 
4thly,  the  life-breathing  attribute  of  emotional  passion. 

Of  these  four,  the  last-mentioned  cannot  be  acquired ;  it  must 
be  innately  present  in  the  disposition  of  the  individual ;  and,  con- 
sequently, it  will  not,  and  cannot,  be  a  subject  of  consideration  in 
this  treatise  upon  Composition.  On  the  contrary,  the  second  con- 
dition, Imagination  (with  the  no  less  important  faculty  of  Dis- 
crimination), can  evidently  be  cultivated  and  developed  to  a  large 
extent ;  and  one  of  the  chief  aims  of  the  following  pages  will 
therefore  be,  to  point  out  every  possible  means  of  arousing  and 
stimulating  this  imaginative  faculty. 

The  first-named  condition,  finally,  skilful  technical  manipula- 
tion of  the  tone-material  and  its  resources,  is  very  largely  indeed  a 
matter  of  study,  and  may  be  acquired  by  any  ordinarily  intelligent 
student,  to  an  extent  proportionate  to  his  application  and  patience. 
Though  not  the  most  significant,  it  is  the  most  indispensable — the 
first  and  fundamental,  requirement.  Therefore,  the  mastery  of  the 
principal  details  of  Tone-relation  (Harmony)  is  expected  of  the 
student  before  he  undertakes  the  study  of  composition  proper. 
Adopting  the  view  that  much  facility  (probably  the  greatest  and 
best)  is  to  be  acquired  through  the  application  of  this  fundamental 
knowledge  to  the  construction  of  musical  designs,  rather  than 
through  its  exercise  as  an  independent  object  of  study,  the  present 
author  demands  no  more  preparatory  harmonic  and  contrapuntal 
knowledge  than  will  have  been  acquired  by  the  faithful  and 
exhaustive  study  of  "The  Material  used  in  Musical  Composition "  *, 

*  Latest  (4th)  ed.     G.  Schirmer,  New  York.     1895. 


2  INTRODUCTORY. 

or  u  The  Theory  and  Practice  of  Tone-relations"  *  (with  the 
supplementary  exercise  indicated  in  its  preface),  or  any  other 
standard  treatise  upon  Harmony. 

THE  HARMONIC  FUNDAMENT. 

The  broadest  principles  of  Harmony  are  herewith  recapitulated  ; 
not  for  the  information  of  the  beginner,  who  would  learn  nothing 
of  value  from  such  a  summary  review,  but  in  order  to  afford  the 
advanced  student  of  Harmony  a  bird's-eye  view  of  the  entire  domain 
of  Tone-association,  such  as  will  facilitate  his  choice  and  use  of  the 
material  in  the  execution  of  the  given  musical  designs  : 

1.  The  source  and  material  basis  of  all  music,  of  whatsoever 
character  and  style  it  maybe,  is  the  CHORD — i.e.,  a  structure  of 
from   three   to  five  tones,  arranged  in  contiguous  intervals  of  the 
(major  or  minor]  third.     Of  these  chord-structures,  there  are  three 
of  fundamental  rank,  erected  upon  the  Tonic,  Dominant  and  Second- 
dominant  (or  Subdominant)  of  the  chosen  key.     The  nature  of  every 
Chord  is  determined  by  the   key,  which  latter  resolves  itself  into 
a  SCALE   of  conjunct  tones,  constituting  the  Platform   of  musical 
operations. 

2.  The  movement  from   one  chord   into   another,   whereby  all 
harmonic  vitality  is  generated,  seems  to  be  dictated  largely  (if  not 
mainly)  by  the  simple  choice  between  a  WHOLE-STEP  PROGRESSION 
and   a    HALF-STEP   PROGRESSION,    either   of    which    is   invariably 
feasible  in  one  or  another,  or  all,  of  the  respective  tone-lines  (parts 
or  voices),  which  describe  or  delineate   the  figures  of  the  musical 
design. 

These  chord-changes  are  REGULAR  when  the  distinction  of 
whole-step  or  of  half-step  progression  is  not  determined  by  option, 
but  by  the  strict  harmonic  conditions  of  the  key ;  they  are  IRREG- 
ULAR (not  necessarily  "  wrong")  when  the  choice  is  arbitrarily 
made,  giving  rise  to  more  or  less  frequent  changes  of  key. 

This  sweeping  option  (of  leading  the  respective  parts  upward 
or  downward  a  whole  step  or  a  half-step)  discloses  one  of  the  most 
comprehensive  and  inexhaustible  sources  of  harmonic  and  melodic 
motion,  including,  as  it  does,  every  conceivable  chord-progression, 
regular  or  irregular.  But  at  the  same  time  it  is  so  vague  and 
seductive,  that  the  student  should  not  adopt  it  as  a  rule  for  the 

*  New  Engl.  Conservatory,  Boston,  Mass.     1894. 


INTRODUCTORY. 


determination  of  his  harmonic  conduct.  He  must  regard  it  rather 
as  a  restilt  (e.  g.,  of  some  thematic  or  formal  design)  than  as  a 
cause  ;  and  must  accept  it  chiefly  as  a  proof  that  there  can  never 
be  an  excuse  for  harmonic  monotony  or  apathy.  It  is  obvious, 
furthermore,  that  the  free  exercise  of  this  option  can  be  conceded 
only  to  those  who  have  first  become  firmly  grounded  in  all  the 
principles  of  regular  harmonic  progression.  The  following  ran- 
dom successions  illustrate  the  point  in  question  : 


1.       J/2  step. 


^y=A 


Ill   Vi  II      *2) 

*i)  Up  to  this  point  all  the  chord-successions  are  regular,  because,  in  each 
separate  case,  both  chords  belong  to  the  same  key,  and  are  connected 
according  to  the  natural  law  of  chord-progression. 

*2)  These  two  successions  are  irregular,  because  not  in  conformity  with 
the  rules  of  diatonic  chord-movement. 

*3)    And   this   succession   (in  common  with  all  chromatics)  is  irregular. 

because  a  mixture  of  keys  takes  place. 

WAGNER. 

*4) 


feH: 


ij — i^k-^^Ti — r 
i=s=^=^FiE 

—W m~ tig1- 

*T  f     *, 


etc. 


*4)  From  the  "  Gotterdammerung".  Some  of  these  chord-successions 
can  be  accounted  for  in  no  other  way  than  as  a  purely  optional  choice  of  whole- 
or  half-step  part-progression. 


INTRODUCTORY. 

RUBINSTEIN. 


i  r^/ij  ^ij  '/«  J  *s> 

*  -  ==== 


*5)  This  unique  cluster  of  half-step  movements  may  be  demonstrated  as 
passing-notes  upon  a  regular  chord-basis. 


3.  The  tones  which  form  a  chord  constitute  the  harmonic 
nucleus  of  the  phrase ;  but,  while  they  may,  and  frequently  do, 
appear  in  their  primary  condition  (see  Ex.  10;  Ex.  27),  they  are 
often  ornamented  with  those  other  scale-tones  which  lie  immediately 
above  or  below  the  individual  chord-tones  (as  Neighboring-notes)  ,* 
sometimes  so  richly,  that  a  very  simple  and  otherwise  perhaps 
monotonous  measure  assumes  a  more  unique  and  elaborate  shape, 
and  is  transformed  from  the  character  of  rugged  or  stolid  simplicity 
into  one  of  greater  grace  or  deeper  passion.  For  illustration  (chord- 
tones  in  large  type)  : 


i.    Andante. 


-4~ 


g-b-d. 


HAYDN. 


i 


INTRODUCTORY. 


2.     Waltz. 


CHOPIN. 


f-a-c c-e-g d-f-a-c 


c-e-g. 


4.  Furthermore,  the  chord-tones  (possibly  in  connection  with 
their  auxiliary  neighbors)  are  not  always  presented  in  one  simul- 
taneous bulk,  but  frequently  so  separated  (dispersed  or  "broken") 
as  to  produce  an  animated  rhythmic  and  melodic  effect,  and  to 
extend  into  other,  higher  or  lower,  registers  than  the  common  and 
convenient  tone-locality  corresponding  to  the  compass  of  the  human 
voices.  Thus : 

i.    Allegro.  MENDELSSOHN. 


3.  < 

2. 

JL 

jfc*F?3—  i 

IS  

—  *        '  3  2  U 

ji               * 

_j  J  g  |J 

ii  W 

••* 

IJaU  1      Uii        ! 

*  ^-^  *        ,  ^ 

J±JJ    ,     * 

*           ^n 

7    • 

*           « 

-^  5  r  i 

r                i 

i                 " 

e- 
Allegro.  £^. 

T2jir~  -^ 

Ib  LTD  ^"^ 

g-b  

•  r       C5^  r-r-S^ 

^*   ^  i^^  —   :  i  ;  H 

-^    h--*-^-  •*••*••*••*•• 
?^   r^  t-4-  |^£&= 

fe^4-  ^^ 
«y 

^irb-3—  ^S 

^  0  1  1  -J  1  1  1  '<r-0]$~-  ••*"         
-=-*-*  *-•-*-•  L~  ^-=- 

-*-•*-      •*--*--•--••              '. 

•^  aH  —  i  (—  f~   —  1  rs'-»       •  -~l 

*^  .   f  1  —  i  i  —  i  —  i_J  1—  f  MH.B  

E±3  —  S 

1  *      ^^^  —  l—i— 
•  *-^=  L-  **J«c 

HM*  1-H****J  1         1          

L-ir  —  «  —  i  —  ,_ 

c-e-g. 


g-b-d. 


INTRODUCTORY. 


BEETHOVEN. 


These  fundamental  varieties  of  tone-combination,  supplemented 
by  a  large  number  of  inferior  distinctions  which  will  be  pointed  out 
in  their  proper  place  and  order,  constitute  the  MATERIAL  out  of 
which  the  composer  develops  his  artistic  creation. 

The  processes  to  be  pursued  in  this  act  :  the  draughting  of  the 
design,  the  execution  of  the  details,  and  the  modes  of  manipulating 
the  natural  material — these  it  is  the  province  of  a  treatise  upon 
"  Musical  Form  "  to  expound. 

THE  DIVISIONS  OF  MUSICAL  FORM. 

The  entire  range  of  musical  forms  is  divided  into  three  grand 
classes  : 

Istly,  THE  HOMOPHONIC  FORMS  ;  embracing  the  majority  of 
smaller  designs,  and  a  number  of  the  larger  ones,  and  characterized 
by  the  predomination  of  the  simpler  styles  of  harmony,  and  the 
element  of  SINGLE  MELODY. 

2ndly,  THE  POLYPHONIC  FORMS  ;  embracing  the  Invention, 
Fugue  and  Canon,  and  characterized  by  the  CONSTANT  ASSOCIATION 

OF    TWO    OR    MORE    INDIVIDUAL    MELODIES. 

Srdly,  THE  HIGHER  OR  COMPLEX  FORMS  ;  embracing  the 
majority  of  larger  designs,  and  characterized  by  the  union  of 
the  homophonic  and  polyphonic  principles  of  treatment,  and  also 
by  greater  logical  continuity  and  closer  affinity  between  ^the  com- 
ponent members  of  the  design.  The  matter  under  treatment  in  the 
present  volume  is  that  of  the  first  of  these  classes  : 

THE    HOMOPHONIC   FORMS. 


THE  HOMOPHONIC  FORMS. 


DIVISION  ONE. 
THE  PHRASE-FORMS. 


CHAPTER  I. 
THE    PHRASE. 

1  .  The  Phrase  is  the  structural  basis  of  all  musical  forms.  It 
is  a  series  of  chords  in  uninterrupted  succession,  extending  (when 
regular)  throughfour  ordinary  measures  in  ordinary  moderate  tempo. 

When  the  tempo  is  slow  (Adagio  —  Larghetto),  or  the  measures  large 
(6/8 — 9/8 — 12/8),  the  Phrase  may  extend  through  only  two  measures;  and,  in- 
versely, in  rapid  tempi,  or  when  the  measures  are  of  a  smaller  denomination, 
the  Phrase  may  contain  eight  measures.  Any  other,  larger  or  smaller,  number 
of  measures  (3,  5,  6,  7,  9,  etc.)  must  constitute  an  irregular  design,  the  causes 
and  purposes  of  which  will  be  seen  in  due  time  (par.  33). 

2 a.  The  simple  Phrase  begins  with  the  tonic  chord;  or,  in 
exceptional  cases,  with  the  dominant  (see  Ex.  14,  No.  i),  or 
with  some  other  harmony  of  preliminary  effect.  The  first  tone  of 
the  Phrase-melody  may  appear  upon  any  beat  or  fraction  of  the 
measure. 

In  case  it  begins  upon  any  unaccented  beat,  or  fraction  of  a  beat,  it  is  evident 
that  the  first  (apparent)  measure  will  be  an  incomplete  one,  and  it  must  be  dis- 
tinctly understood  that  such  an  incomplete  measure  is  merely  preliminary  and 
is  never  to  be  counted  as  first  measure,  no  matter  how  little  it  may  lack  of  being 
an  entire  measure.  (This  must  be  borne  constantly  in  mind  in  counting  the 
measures  in  all  given  references.  The  first  measure  in  a  Phrase,  or  com- 
position of  any  design,  is  the  first  full  measure  !)  The  preliminary  beats  or 
fractions  are  in  reality  a  borrowed  portion  of  the  final  measure,  and  will  be 
deducted  from  the  latter,  as  a  rule.  See  Ex.  5;  Ex.  10  (beginning  upon  first 
accent).  Ex.  6;  Ex.  7b;  Ex.  12  (beginning  on  last  beat  of  preliminary 


8 


THE    PEHFKCT    CADENCE. 


Par.  4. 


measure).  Ex.  13,  No.  2;  Ex.  14,  No.  2  (beginning  one  beat  and  a  half  before 
first  accent);  Ex.  14,  No.  i;  Ex.  23,  No.  6  (beginning  on  secondary  accent  of 
preliminary  measure) ;  Ex.7;  Ex.  13,  No.  i;  Ex.  22,  No.  5  (beginning  four 
beats  before  first  accent) ;  Ex.  41,  No.  i ;  Ex.  45,  No.  i ;  Ex.  66,  measure  4. 

(b)  The  Phrase  closes  with  a  Cadence ;  if  a  simple  Phrase, 
independent  of  associates,  or  the  final  one  of  a  series  of  Phrases,  it 
closes  with  the  so-called  PERFECT  CADENCE  ;  otherwise  with  a 
semi-cadence  (explained  in  par.  36). 

A  caden«e  is  an  interruption  of  the  harmonic  and  (particularly)  the  melodic 
current,  —  a  check,  or  pause,  — a  point  of  repose,  which  marks  the  conclusion 

i  of  some  melodic  line,  —  but  without  affecting  the  fundamental  rhythmic  pulse. 

;Cadences  are  distinguished,  and  their  employment  determined,  by  the  force 
and  extent  of  this  interruption. 

3.   Of  the   perfect   cadence  there  is  only  one  harmonic  form,,  < 
namely:  the  Tonic  triad,  \vith  its  root  in  both  outer  parts,  on  an  | 
accented  beat,  and  preceded  by  a  fundamental  form  of  the  Dominant 
harmony  (whose  rhythmic  location  and  extent  is,  however,  optional). 
Thus,  in  the  skeleton  of  a  4-measure  Phrase  :     (P  <A*    ^  (^ 

i.    Accented  beginning,    Perf.  Cad.       2.     Unacc.  beginning.       Perf.  Cad. 


m 


4.  But  this  unalterable  harmonic  form  is,  nevertheless,  subject 
to  a  rhythmic  modification,  which  consists  in  projecting  the  final 
tonic  chord  a  beat  or  more  beyond  its  proper  cadence-accent,  by 
holding  over  the  preceding  dominant  harmony  (or  parts  of  it)  in 
any  of  the  manifold  Suspension-forms.  Thus  : 


Adagio. 


Par.  5. 


THE    PERFECT    CADENCE. 


BEETHOVEN. 


*i)  The  V  at  the  accent  of  this  cadence-measure  is  merely  a  Suspension  of 
the  Dominant  which  appears  in  the  comparatively  unaccented  third  measure. 
This  unaccented  impression  of  the  Dominant  must  always  be  preserved,  in  order 
to  sustain  the  comparative  rhythmic  superiority  (accent)  of  the  cadence-tonic. 

The  object  of  the  rhythmic  modification  is,  to  avoid  abruptness,  or  to 
diminish  the  power  of  the  cadence.  As  a  rule,  the  cadence-tonic  may  be 
thus  deferred  to  any  extent  (even  beyond  the  cadence-measure);  but  it  is 
generally  objectionable  for  it  to  appear  upon  any  pulse  beyond  the  final  accent 
(in  case  it  is  compound  time,  with  more  than  one  accent  to  a  measure),  or 
beyond  the  last  full  beat  in  2/4,  3/4,  and  other  simple  measures.  In  the 
Polonaise,  and  certain  other  styles  of  composition,  this  belated  cadence-tonic 
is  characteristic.  For  example  : 

Allegro  moderate.  fy>          ^~^ 


..I  V I 

See  also  Ex.  63, — Cadence  on  the  second  8th-note,  in  2/4  time. 

5.  Viewed  in  its  HARMONIC  aspect,  the  Phrase  will  contain 
a  certain  number  of  different  chords  between  the  initial  Tonic  and 
the  perfect  Cadence,  but  their  number  and  choice  cannot  be  re- 
duced to  any  rule.  In  general,  it  appears  wise  to  use  AS  FEW 
CHORDS  AS  POSSIBLE  (better  only  one  chord  for  an  entire  measure, 


10 


HARMONIC    ASPECT 


I'HKASK. 


Par.  6. 


than  a  different  one  for  each  beat),  because  the  purest  and  strongest 
melodies  arise  from  the  simplest  and  quietest  harmonic  source. 
Still,  it  is  just  as  necessary  to  observe  the  principle  of  variety  with 
regard  to  chord-durations  in  a  Phrase,  as  with  regard  to  the  tone- 
durations  in  the  rhythmic  structure  of  a  melody.  The  following 
example  illustrates  the  two  extremes  of  harmonic  repose  and  har- 
monic activity  in  the  chord-design  of  a  Phrase  : 

(a.)  One  chord  only,  from  beginning  up  to  Cadence. 


(b)  Different  chord  to  each  beat  (rapid  tempo). 


SCHUMANN, 


The  pupil  should  scan  a  large  number  of  the  Phrases  given  in  this  book 
(and  such  others  as  he  may  encounter  in  examining  classical  music  literature), 
and  closely  observe  the  harmonic  structure,  i.e.,  the  number  and  choice  of 
chords  upon  which  the  Phrase  is  based.  See  Exs.  61,  62,  64,  73,  74,  76,  83,  89, 
91,  94,  96,  and  others. 

6.  The  part  of  the  Phrase  where  the  harmonic  arrangement 
appears  to  assume  a  certain  degree  of  regularity  (neither  by  accident 


Par.  6. 


APPROACH    TO    THE    CADENCE. 


II 


nor  tradition,  but  for  perfectly  natural  reasons),  is  the  approach  to 
the  cadence. 

The  final  cadence-basstone  is  the  Tonic  note,  and  this  is  pre- 
ceded (in  Bass)  by  the  Dominant  note  of  the  scale,  as  has  been 
seen.  The  former  is  accented;  but  the  rhythmic  location  and 
extent  of  the  penultimate  basstone  (Dominant)  is  optional.  It 
usually  appears  twice,  at  least ;  the  first  time  often  as  |  chord  of 
the  tonic  (I2). 

The  basstone  most  naturally  chosen  to  precede  this  penulti- 
mate Dominant,  is  its  lower  neighbor,  not  only  because  of  its  tonal 
importance  as  Subdominant  of  the  scale,  but  because  of  its  con- 
venient proximity,— conjunct  melodic  progression  being  generally 
preferable  to  disjunct.  The  location,  extent,  and  harmonic  char- 
acter of  this  antepenultimate  basstone  is  also  optional ;  and  it  may, 
furthermore,  be  either  the  legitimate  4th  scale-step,  or  may  be  raised 
(as  Altered  tone).  For  illustration  : 

Any  rhythm. 


*         -JB-*  * 


Bass  part; 

Time- values 

optional. 


most  com- 
mon form. 


Also: 


=p=*=       TIEE 


Snbd.  Dora.—  Ton.      IIj  I2    V     I        IV  II 

Maestoso.  J  S    J^T 

r\   f,' !      0      J 


WAGNER. 


ji        ,*  t  "  *  ; rt    n    '    — r         — rJ       nri 


Subd.      Dora.          Ton. 


12 


APPROACH    TO    THE    CADENCE. 


Par.  8. 


Sometimes  the  upper  neighbor  of  the  Dominant  is  chosen  to 
precede  the  latter,  as  antepenultimate  basstone  ;  either  as  legitimate 
6th  scale-step,  or  lowered. 

Or,  both  neighbors  precede  the  Dominant  basstone,  in  either 
order.  Thus  (Bass  part  alone)  : 


(C  major.) 


a  

^  

OH  

-*-ft 

i  &  —  i 
ivj 

VI 

1                                   -£f 

IV 

if, 

« 

•I 

9. 


"7.  This  is  the  harmonic  "highway"  to  the  perfect  cadence, 
as  marked  by  the  lowermost  part ;  and  it  will  be  traversed  in  such 
modes,  such  varieties  of  style,  and  in  such  degrees  of  speed  and 
forms  of  rhythm,  as  the  fancy  of  the  composer  (who  is  not  limited 
to  copying  or  imitating  what  others  have  done,  if  he  will  simply 
exercise  the  faculty  of  original  combination)  may  discover.  In  the 
following  instance  (an  8-measure  Phrase,  with  an  unusual  harmonic 
outset — ii  instead  of  Tonic),  the  three  basstones  shown  in  Example 
8  underlie  the  entire  Phrase,  from  beginning  to  end  : 

Allegro. 

i     ^  i  — -^ 

H 

\  ^          •$>-  -j§<-  •*•-•• 

10. 


Tonic. 


8.  Viewed  in  its  MELODIC  aspect,  the  Phrase  (or,  more  exactly, 
the  melody  of  the  Phrase)  will  be  found  to  consist  of  a  certain 
number  of  sections,  called  Phrase-members  or  melodic  Members,  or 
Motives,  or  (if  very  brief)  Figures.  They  are  more  or  less  dis- 
tinctly separated  from  each  other  by  slight  interruptions — corre- 
sponding to  the  "  Cadences"  which  separate  entire  Phrases  from 


Par.  9. 


MELODIC    ASPECT    OF    PHRASE. 


each  other,  but  differing  from  these  "  Cadences"  in  being  so  tran- 
sient as  to  subdivide  the  melodic  line  only,  without  severing  the 
harmonic  continuity  of  the  Phrase.  (Some  writers  call  these  spaces 
between  the  members  "Quarter-cadences".) 

This  element  of  "  Phrase-syntax"  is  obviously  the  most  important  one  in 
liomophonic  phrase-construction,  for  the  entire  purpose  and  signification  of 
the  Phrase  is  concentrated  in  its  principal  melodic  line,  i.  e.,  its  Melody  (the 
"Air"  or  "Tune",  as  it  is  more  popularly  called).  The  Melody  is  the 
Phrase,  and  all  the  other  structural  and  technical  factors  subserve  the  melody. 

But  the  author  would  reiterate  his  belief  that  melody,  to  a  very  large 
extent  (if  not  altogether),  is  primarily  a  Product.  THE  MUSICAL  SOURCE  is 
THE  HARMONY,  i.  e.,  THE  CHORDS;  AND  THE  MELODY  is  THE  PRODUCT  OUT 
OF  THIS  SOURCE,  just  as  leaf,  flower  and  fruit  are  the  product  out  of  soil, 
root  and  branch.  Hence,  the  student  will  do  wisely,  at  least  as  beginner,  to 
bear  in  mind  the  rules  of  rational  chord-succession,  and  evolve  his  melodic 
motives  outof  this  consciousness.  The  pages  of  our  strongest  classical  literature 
abound  in  proofs  of  direct  eduction  of  melody  out  of  the  chord.  Examine  the 
harmonic  origin  of  the  melodic  motives  in  Ex.  2,  No.  2 ;  Ex.  7,  a ;  Ex.  34,  No.  2 ; 
Ex.  35,  No.  i ;  Ex.  46,  No.  3;  Ex.  74;  and  others. 

At  the  same  time,  inasmuch  as  the  melodic  extract  from  one  and  the  same 
chord  or  chord-series  may  assume  a  multitude  of  different  shapes  (precisely  as 
one  and  the  same  melody  may  generally  be  constrained  into  agreement  with 
different  accompanying  harmonies),  it  is  plain  that  the  choice  of  shape  will  be 
dictated  by  other  conditions  altogether,  namely :  those  of  thematic  relation, 
agreement,  or  contrast,  and  other  structural  considerations.  Therefore,  it  is 
not  only  possible,  but  even  necessary,  to  design  a  Phrase  largely  from  the 
standpoint  of  its  Melody  alone,  without  running  the  risk  of  any  serious 
violations  of  the  harmonic  laws  which  must,  by  this  time,  be  almost  a  second 
nature  to  the  student.  Revie-w  paragraphs  5,  6,  and  7,  the  principles  of  -which 
must  never  be  neglected  or  ignored, 

9.   In  rare  cases,  there  is  no  perceptible  break  in  the  Phrase- 
melody  ;  in  other  words,  the  Phrase  consists  of  one  single  member, 
in  which,  at  most,  a  vague  subdivision  into  Figures  may  be  traced, 
i.    Allegretto.  MENDELSSOHN. 

y»o •-*- 


4  measures. 


a.    Allegro. 


BEETHOVEN. 


Usually,  however,  there  is  at  least  one  melodic  interruption,  as 
a  rule  exactly  in  the  middle  of  the  Phrase,  dividing  the  latter  into 


MELODIC    MEMBERS. 


Par.  9. 


two  equal  members  (the  pupil  may  first  glance  over  par.  10).     For 
illustration  : 


Allegro. 


HAYDN. 


V I. 


12. 


2  measures.  |    2  measures. 

Also  Ex.  61,  meas.  1-4;  Ex.  70,  meas.  1-4. 

Additional  interruptions  are  most  likely  to  occur  exactly  in  the 
center  of  either  the  first  half,  or  (rarely)  second  half  of  the  Phrase ; 
or  in  the  center  of  both  halves.  Thus  : 

i.    Allegro.  MENDELSSOHN. 

4- 


1  measure.  |    1  meas.  |     2  incus. 

First  half  of  Phrase  subdivided  ;  also  Ex.  47,  meas.  1-4 ;  Ex.  72,  meas.  1-4. — 
2.    Moderate.  MENDELSSOHN. 


2  meas.  |    1  meas.  |    1  meas. 

Second  half  of  Phrase  subdivided;  also  Ex.  15;  Ex.  29. — 


3.    Moderate. 


HAYDN. 


1  meas. 

1  meas. 

Both  halves  of  Phrase  subdivided;  also  Ex.  60,  meas.  1-4;    Ex.  66,  meas. 
1-4;  Ex.  74.— 

In  this  process  of  division  (or,  more  properly,  the  synthetic 
process  of  compounding  figures  and  members  into  a  complete  Phrase) 
the  principle  of  regularity  naturally  prevails  ;  but  there  are  occa- 
sional cases  of  irregular  metrical  association,  as  follows  : 

i.    Andante.  MENDELSSOHN. 


2  beats.        6  beats. 
2.    Allegretto. 


4  beats. 


4  beats. 


|   5  beats. 


Par.  10.  MELODIC    MEMBERS.  15 

1  O.  The  means  of  marking  (or  of  locating)  the  "spaces" 
between  the  members  of  a  Phrase-melody,  are  numerous,  but  often 
so  vague  that  the  student  will  frequently  have  to  depend  more  upon 
instinct  than  upon  rule ;  different  analyses  of  the  same  melody  are 
often  possible,  and,  in  fact,  the  performer  may  (to  a  certain  degree) 
place  an  arbitrary  construction  upon  the  syntax  of  the  Phrase. 

This  is  simply  because  the  distinctions  between  the  inferior  grades  of 
"Cadence"  (in  the  sense  that  every  interruption,  however  slight,  is  a 
"  Cadence  "),  like  those  of  punctuation,  are  necessarily  subtile;  and,  there- 
fore, it  is  not  always  possible  to  define  with  accuracy  the  various  degrees  of 
cadential  interruption  corresponding  respectively  to  the  space  between  Figures, 
between  Members,  or  even  between  Phrases  themselves.  See  par.n. 

The  most  reliable  methods  of  marking  the  limits  of  a  melodic 
member,  are  : 

Istly,  to  introduce  a  Rest  (sufficiently  emphatic  not  to  be  con- 
founded with  mere  staccato) ;  this  is  seen  in  Example  12,  Example 
13,  No.  3,  and  Example  14,  No.  i. 

2ndly,  to  dwell  upon  the  final  tone,  thus  giving  it  compara- 
tively longer  duration  than  its  associates,  as  in  Example  13,  No.  I, 
and  Example  14,  No.  2.  That  this  rule  cannot  hold  good  for  every 
heavy  note,  is  demonstrated  by  the  ^  at  the  beginning  of  measure  4 
in  Ex.  12,  and  by  the  first  note  in  Ex.  3 — neither  of  which  marks 
the  end  of  a  melodic  member.  The  heavy  tone  must  stand  in  the 
proper  place,  and  must  impart  a  cadential  (closing,  concluding) 
impression.  Ex.  13,  No.  i  ;  Ex.  14,  No.  2. 

Srdly,  the  trait  \vhich  is  more  convincingly  indicative  of  melodic 
division  than  any  other,  is  that  of  Repetition  or  Sequence,  or, 
in  a  word,  the  recurrence  of  any  sujjiciently  striking  melodic  or 
rhythmic  figure.  See  Ex.  13,  No.  i,  members  i  and  2  ;  Ex.  13,  No. 
2,  members  2  and  3;  Ex.  13,  No.  3,  members  i  and  3,  2  and  4; 
Ex.  14,  No.  2,  members  i  and  3;  Ex.  17;  Ex.  18;  and  the  follow- 
ing, in  which  the  characteristic  repetition  of  the  first  tone  unmis- 
takably marks  the  beginning  of  each  following  member  : 


The  only  danger  of  error,  in  this  method  of  analysis,  is  that  of 
accepting  too  many  "spaces",  and  thus  confounding  the  smaller 
particles  of  the  Phrase  (the  Figures,  or  subdivisions  of  the  Mem- 
bers) with  the  Members  themselves.  Further  : 


i6 


MELODIC    MEMBERS. 


Par.  12. 


1  1  .  The  smallest  musical  particle  is  the  single  TONE, ^-cor- 
responding to  the  single  letter  in  orthography.  The  uninterrupted 
association  of  two  or  more  tones  (in  melodic  succession)  constitutes 
the  FIGURE. 

The  association  of  two  or  more  figures  (separated  by  very 
slight  interruptions)  generally  constitutes  the  PHRASE-MEMBER  or 
MOTIVE, ^-corresponding  to  the  words,  small  and  large,  in  a  sen- 
tence. 

The  association  of  two  or  more  members  (separated,  as  above 
shown,  by  "  quarter-cadences  ",  corresponding  approximately  to 
the  spaces  between  the  words  of  a  printed  sentence)  generally  con- 
stitutes the  complete  PHRASE  or  sentence. 

The  usual  (but  not  invariable)  subdivision  of  the  melodic  mem- 
ber into  its  figures,  and  the  consequent  distinction  between  these 
factors,  is  shown  by  the  double  system  of  slurs  in  the  following 
illustrations  (upper  slurs  for  Members,  lower  ones  for  Figures)  : 


i.    Presto. 


MENDELSSOHN. 


*i)  These  possible  variations  in  the  analyses  of  Phrase-syntax  need  give 
the  student  no  concern.  Review  the  first  few  lines  of  paragraphs  8  and  10; 
and  examine  the  given  examples  with  regard  only  to  such  of  their  divisions 
and  subdivisions  as  are  plainly  definable. 

12.1°  the  composition  of  a  Phrase-melody,  some  attention 
must  be  paid  to  the  melodic  and  metric  relations  between  the 
members ;  and  while  there  will  appear  to  be  no  system,  nor  any 
limit  to  the  possibilities,  still,  each  individual  possibility  is  a 
suggestion  to  the  alert  student,  and  consequently  becomes  a  definite 
stimulus  to  his  imagination. 

As  concerns  the  metric  relation,  it  has  already  been  seen,  in 
Examples  12,  13,  and  14,  that  the  Phrase-members  may  be  either 
similar  or  dissimilar  in  length. 


Par.  IS 


MELODIC    MEMBERS. 


And  with  regard  to  their  melodic  (or  thematic)  comparison, 
both  similarity  (Ex.  13,  No.  3)  and  difference  (Ex.  14,  No.  2)  have 
been  observed. 

In  Examples  12  and  13,  similarity  of  rhythmic  character  pre- 
vails, while  in  Example  14  there  is  striking  rhythmic  diversity. 

There  is  probably  a  slight  preference  in  favor  of  regularity  and 
similarity,  in  all  of  these  respects. 

Total  thematic  agreement  (Repetition)  is  illustrated  in  the 
following  : 


i.    Andante. 


MENDELSSOHN. 


17 


2.     Vivace. 


See  also  Ex.  30,  No.  i,  meas.  1-2  ;  Ex.  35,  No.  i,  meas.  1-3;  Ex.  46,  No.  3; 
Ex.  71,  meas.  1-4. 

Comparative  thematic  agreement  (by  Sequence)  prevails  in  the 
following ;  (N.  B.  A  Sequence  is  the  reproduction  of  a  melodic 
figure  or  member  upon  other,  higher  or  lower,  steps)  : 

i.    Vivace.  HAYDN. 

I 


See  also  Ex.  27,  meas.  1-3;    Ex.  34,  No.  i,  meas.  1-3;    Ex.  37,  meas.  1-3; 
Ex.  52,  meas.  3-5. 

Frequently,  actual  thematic  agreement  is  cleverly  disguised,  or 
modified,  as  follows  : 

i.    Presto.     '  HAYDN. 

|  *  — =_  *  primary  form. 


i8 


2.    Andante. 


MKLODIC   MEMBERS. 

MENDELSSOHN. 


Par.  12. 


prim.  form. 


3.    Allegro. 


3S£ 


BRAHMS 


3 


|  a.  embellished. 


4.    Allegro. 


CIIOPIN. 


5.    Allegretto. 


HAYDN. 


contracted  and  sbifted. 
See  also  Ex.  30,  No.  i,  meas.  2—3;  Ex.  79,  meas.  1—2,  and  5-6. 

After  carefully  and  repeatedly  reviewing  all  the  conditions  of 
Phrase-construction  given  in  the  preceding  paragraphs,  the  pupil 
may  venture  to  apply  them  in  the  invention  of  original  examples  of 
Phrase-melody,  according  to  the  following  directions  : 

EXERCISE   1. 

Invent  a  number  of  instrumental  Phrase-melodies  of  diversified  character 
and  design,  principally  four  measures  in  length, — a  very  fe-w  of  two  and 
eight  measures. 

Alternate  regularly  between  the  major  and  minor  modes  in  successive 
examples;  employ  the  different  varieties  of  duple  and  triple  time  impartially; 
and  employ  the  various  grades  of  tempo  (from  Adagio  to  Allegro).  Exem- 
plify the  principal  forms  of  phrase-syntax  (Exs.  n,  12,  13),  and  thematic 
relation  (Exs.  17,  18,  19). 

The  harmonic  basis  must  be  borne  in  mind  constantly  (par.  5,  6,  7),  but 
is  not  to  be  written  down;  THE  MELODY  ALONE  constitutes  the  object  of  this, 
first  exercise. 


Par.  14a 


HARMONIC    EQJJIPMENT    OF    THE    PHRASE. 


CHAPTER  II. 
THE  HARMONIC  EQUIPMENT  OF  THE  PHRASE-MELODY. 

1  3.  The  general  principles  governing  the  harmonization  of  a 
given  melody  having  been  acquired  in  the  course  of  "harmonic" 
study,  it  only  remains  to  add  a  few  directions  here  in  reference 
to  the  various  styles  of  harmonic  accompaniment.  These  will 
be  dictated,  most  naturally,  by  the  character  and  tempo  of  the 
melody  ;  but  they  may  be  chosen  according  to  the  particular  effect 
desired. 


In  those  cases  where  the  melody  in  itself  exhibits  its 
harmonic  source  with  sufficient  distinctness,  or  where  it  is  to  appear 
in  impressive  isolation,  the  harmonic  accompaniment  is  apt  to  be 
omitted  altogether,  during  one  or  more  members,  or  perhaps  during 
the  entire  Phrase  ;  the  melody  appears  as  SOLITARY  PART,  or  tone- 
line  (unison),  or  is  simply  doubled  in  one  or  more  octaves.  For 
example  : 


20. 


i.    Allegro  moderate. 

IL 

SCHUE 

ERT. 

—  rr 

V    f^r  *J                         1                             1 

f      C 

wf^\    IT  v 

BE     4              1     |      J    1 

t  UL 

y-IT 

*         «       -g*-.     -»-_          -25*". 

„  v      ,  

^p                        -  ,'"'  •  —  1 

w            1                 1 

*      * 

—  ^^ 

^ 

. 

Sj    * 

i  •  if  ^  o 

* 

-, 

& 

vf 

& 

2  —  ^4-  —  ,5.-^  -  _e  —     _  -^-T- 

Ha  

=11 

rr 


2.    Allegretto. 


BACH. 


2O  HARMONIC    EQUIPMENT    OF    THE    PHRASE.  Par.  14b 

3.    Lento.  (one  part. .. 


CHOPIH. 

) 


See  also  Ex.  38,  No.  6  (also  4  and  5) ;  Ex.  52 ;  Ex.  81,  meas.  1-2 ;  Ex.  84, 
meas.  i ;  Ex.  94. 

(b)  Or,  the  Phrase-melody  is  supported  by  ONE  ADDITIONAL 
PART  or  tone-line,  which  either  assumes  a  coordinate  melodic 
character  (Nos.  i  and  2),  or  becomes,  as  figural  part,  the  arpeggi- 
ated  representative  of  the  entire  chord-basis  (Nos.  3  and  4).  Thus  : 


i.    Allegro. 


MENDELSSOHN. 


r—  0 


i  — 


21.  *.     *•    iH     4:^    *    -. 

(^— rTT*  C  f    FT*    I       ufbf^rj* 

'^"K  r  rp=h-'— ^— ^-    =±rg^=g5E 


(2  parts,  doubled  in  8ves ) 


a.     Vivace.  HAYDN. 


(2  equal  parts.) 
3.    Allegretto. 


P?*- 


BEETHOVEN. 

—I 


^1 


Par.  14c. 


HARMONIC   EQUIPMENT  OF  TIIK    PHRASE. 


21 


4.    Allegretto. 


SCHUMANN. 


(fiitural  part  ) 
See  also  Ex.  32,  No.  3 ;  Ex.64;  68;  69;  77;  78;  97. 

(c)  The    addition   of   two    accompanying   tone-lines  (3-voiCK 
STYLE)  secures  a  complete  harmonic  effect  without  bulkiness,  and, 
for  this  reason,  the  3- voiced  style  must  be  regarded  as  generally  pref- 
erable and  most  commendable. 

Here,  again,  the  parts  may  be  similarly  melodious,  as  in  the 
vocal  style  (though  dictated  by  the  rules  of  r//0r</-structure)  ; 

Or  one  of  the  tone-lines  may  be  a  figural  part, — a  choice 
which  is  more  common  and  appropriate  in  instrumental  (or  key- 
board) music,  and  especially  suitable  for  the  HOMOPHONIC  forms. 

In  this  harmonic  style  the  device  of  duplication  in  thirds 
or  sixths  is  both  convenient  and  effective  (see  particularly  Ex. 
22,  Nos.  4  and  5 ;  and  observe  how  the  parts  are  related  in 
Ex.  62). 

For  illustration  : 


Adagio. 


22. 


MOZART. 


f  '  Lf—h: — g^^^^db 


etc. 


— 5-4-fm:it=:::* 


f 


2.    Andante. 


MENDELSSOHN. 


II 


HARMONIC    EQUIPMENT    OF    THE    PHRASE.  Par.  14d. 

3.    Andante  con  moto.  MENDELSSOHN. 


_ 

-  ff 

p^i^= 


Iu9-/» *      p      •   i  •    ~^~r  I      "ft  .  I     '"f^i'J      ^~< 

aJ^SES    =F«-^-.-f— ^-  -^-J- J— jqj^rT^ 


(Duplication  of  principal  mel.  in  thirds. 
5.    Allegro. 


***J-L> 


See  also  Ex.  26;  28;  49;  56;  58;  59;  66;  75; 

(d)  The  4-voiCE  STYLE  is  often  necessary  for  greater  harmonic 
breadth  and  fullness.  It  usually  resembles  the  vocal  (or  choral) 
style  very  closely  (Ex.  27),  although  one  or  more  of  the  four 
tone-lines  may  be  a  figural  part.  It  will  be  most  appropriate  for 
melodies  of  a  comparatively  serious  and  stately  character,  but  less 
desirable  for  graceful  or  rapid  melodies.  Illustrations  of  this  style 
will  be  found  in  Examples  fa  and  3,  and  in  the  second  half  of 
Example  5  ;  to  which  may  be  added  the  following  varied  specimens 
of  its  treatment :  fo-  I  I 

*._Andante.± ^_      |  f~    ±     fej.       J_    * 

£i^==^4:-^z=l»=  f     f 


23. 


m 


J  J    1 


A 


etc. 


(Imitation  of  vocal  style.) 


Par.  15.  HARMONIC   EQUIPMENT  OF  THE   PHRASE. 

2.    Allegro.  BEETH.        ;,.    Andante.  BEETH. 


( 


See  also  Ex.  25;  Ex.  27;  36;  51,  No.  i;  54;  72;  74;  96. 

1  5.  By  simply  duplicating  one  or  more  of  these  fundamental 
tone-lines  (or  single  chord-intervals)  in  upper  or  lower  octave- 
registers,  the  harmonic  volume  may  be  increased  to  any  desired 
extent,  and  copious,  rich,  powerful  or  pompous  effects  achieved. 
Such  voluminous  harmonies  are  seldom  sustained  very  long ;  and  it 
is  very  important  to  observe  that,  in  general,  (only  excepting  in 
strict  vocal  writing,)  it  z's  neither  necessary  nor  'wise  to  adhere 
rigidly  to  any  number  of  tone-lines.  That  is  to  say,  the  volume  of 
harmony  may  be  increased  or  decreased  during  certain  members  or 
figures,  or  even  at  single  points,  for  the  sake  of  dynamic  and  har- 
monic variety.  But  the  principle  of  "coherent  tone-lines"  (the 
most  vital  in  music)  must  never  be  violated ;  at  least  two  lines  (the 
uppermost,  or  Melody  proper,  and  lowermost,  or  Bass)  must  always 


24 


HARMONIC    EQJLJIPMENT    OF    THE    1MIHASE. 


Par   15. 


be  conducted  with  strict  regard  to  melodic  law  ;  and  usually  one 
inner  part  also.  These  quantitative  fluctuations  in  harmonic  volume 
should,  therefore,  plainly  appear  to  be  transient  duplications,  or 
omissions,  of  a  portion  of  the  original  bulk,  which  do  not  disturb 
the  effect  of  the  fundamental  lines  ("  Material  of  Mus.  Comp.", 
par.  413,  414). 

For  illustrations  of  this  species  of  harmonic  accompaniment, 
and  also  those  explained  in  par.  14,  the  pupil  is  referred  to  the 
pages  of  standard  literature,  (Mo/art,  Beethoven,  Mendelssohn, 
Chopin,  Schumann,  Brahms),  which  he  is  urged  to  examine  with 
special  reference  to  this  point.  See  Ex.  2,  Nos.  2  and  3;  Ex.  5; 
Ex.  6;  Ex.  10;  Ex.  20,  No.  3;  and  the  following: 

i.    Maestoso.  MEXDELSS.       2.    Agitato.  BRAHMS. 


24. 


See  also  Ex.  38,  No.  3 ;  Ex.  40,  No.  4;  Ex.  47 ;  61 ;  67 ;  83 ;  91 ;  95. 

MISCELLANEOUS    EXAMPLES    OF  THE  SIMPLE  4-MEASURE  PHRASE. 

SCHUBERT,  Songs :  "  Die  schone  Miillerin  ",  first  four  measures  of  Nos.  I, 
4,  6,  8,  10,  14,  20;  "  Winterreise  ",  first  four  measures  of  Nos.  9,  n,  14,  22,  23. 

MENDELSSOHN,  "  Songs  without  Words",  No.  4,  meas.  5-9;  No.  28,  meas. 
1-4;  No.  41,  meas.  1-4;  No.  44,  meas.  1-4. 

Also  Ex.62,  meas.  1-4;  Ex.  66,  meas.  5-8;  Ex.  73,  meas.  5-8;  Ex  74, meas. 
1-4;  Ex.  76,  meas.  1-4;  Ex.  78,  last  four  measures;  Ex.  92,  meas.  1-4;  Ex.  96, 
meas.  1-4. 


Par.  1G.   THE  DEVELOPMENT  OR  EXTENSION  OF  THE  PHRASE.       25 

EXERCISE  2. 

Add  the  harmonic  accompaniment  to  some,  or  all,  of  the  Phrase-meuulu-* 
invented  as  Exercise  i.  As  a  very  general  rule,  the  pupil  is  expected  to  adopt 
the  pianoforte-style,  at  least  for  a  time;  though  he  is  at  liberty  to  write 
occasionally  for  any  other  instrument  or  ensemble  with  which  he  may  be 
familiar  (Organ,  String-quartet,  Trio,  Duo,  etc.).  He  is  warned  not  to  over- 
step the  purpose  of  the  Exercise,  which  in  this  case  is  limited  to  the  simple 
regular  PHRASE. 

Though  it  is  by  far  the  most  common  habit  to  place  the  Phrase-melody  in 
the  uppermost  part,  the  pupil  is  urged  to  assign  it  now  and  then  to  an  inner 
part,  or  to  the  lowermost  one.  See  Ex.  22,  No.  3;  Ex.  28;  Ex.  91,  last  seven 
measures. 

Review  paragraphs  5,  6  and  7,  and  avoid  overloading  the  phrase.  THE 
FEWER  CHORDS,  THE  BETTER.  Avoid  the  faulty  habit  of  harmonizing  each 
individual  melody-tone  with  a  separate  chord ;  that  is,  harmonize  as  many 
successive  melody-tones  as  convenient  with  the  same  chord  ;  taking  care,  how- 
ever, to  change  the  harmony  at  the  stronger  accents,  i.  e.,  the  first  accent  in  a 
compound  measure,  and,  analogously,  the  first  accent  of  all  measures  which,  in 
the  regular  alternations  of  heavy  and  light  pulses  throughout  the  Phrase,  rep- 
resent the  heavier  units. 

Very  positive  preference  must  be  given  to  the  3-voice     style. 


CHAPTER  III. 

THE  DEVELOPMENT  OR  EXTENSION  OF  THE  PHRASE. 

1  Q.    Musical  composition   involves  two  distinct  mental   pro- 
cesses :  that  of  Conception  and  that  of  Manipulation. 

The  process  of  conception  comes  first,  and  dominates  during 
the  creation  of  the  thematic  germ,  the  Motive  or  Phrase.  The 
process  of  manipulation  is  maintained  more  or  less  steadily  the  rest 
of  the  way,  even  though  it  be  in  such  close  interaction  with  the 
imaginative  and  conceptive  faculties  that  the  limits  cannot  always 
be  defined  in  the  writer's  consciousness;  upon  this  latter  process 
depends  most  largely  the  success  of  the  product.  Composition  is 
not  an  aggregation  (merely  the  collecting  and  associating  of  a 
quantity  of  kindred,  or,  worse  still,  heterogeneous  musical  frag- 
ments, without  regard  to  structural  design,  logical  arrangement,  or 
unity) ;  it  is  the  result  of  evolution  and  logical  deduction, — an 


20  PHRASE-REPETITION.  Par.  18. 

unfolding  of   one    phase  after   another  out  of  the  thematic   germ, 
until  the  growth  is  consummated. 

Of  this  fact,  the  pupil  should  encourage  the  most  absolute  conviction, 
for  any  other  conception  will  prove  an  effectual  obstacle  to  his  aspirations  in 
the  classical  avenues  of  serious  and  enduring  musical  composition. 

1  Y.  The  "Phrase"  having  been  conceived,  the  next  step,  then, 
is  its  enlargement  or  development.  This  is  not  yet  to  be  effectu- 
ated by  the  addition  of  other  Phrases,  for  that  would  overstep  the 
limits  of  the  present  purpose,  which  is  :  the  development  of  the 
resources  embraced  within  a  single  germinal  Phrase,  upon  a  cor- 
respondingly narrow  scale  of  structural  design. 

The  principal  means  employed  in  the  Development  or  Exten- 
sion of  a  Phrase  (or  thematic  germ  of  any  kind)  are  those  of 
REPETITION,  SEOJJENCE  (i.  e.,  the  reproduction  of  a  figure  or 
member  bodily,  a  certain  interval-distance  higher  or  lower),  and 
EXPANSION.  Their  application  may  be  classified  in  a  fourfold 
manner,  namely  : 

(1)  The  Repetition  of  the  entire  Phrase  ; 

(2)  The  Extension  at  the  End, 

(3)  The  Extension  at  the  Beginning,  and 

(4)  The  Extension  in  the  Course  of  the  Phrase. 

i.  PHRASE-REPETITION. 

1  8.  When  the  \vhole  Phrase  is  to  be  repeated,  it  is  customary 
(though  not  absolutely  necessary)  to  fill  out  the  measuie  allotted  to 
the  perfect  Cadence,  by  continuing  the  rhythmic  pulse  in  some  form 
or  other,  so  as  to  "  bridge  over"  the  space  between  the  end  of  the 
Phrase  and  the  beginning  of  its  repetition,  and  thus  partly  conceal 
the  Cadence.  This  is  more  or  less  desirable,  according  to  the  width 
of  the  intervening  space. 

It  is  not  to  be  an  "  Evasion"  of  the  perfect  Cadence,  and  there- 
fore the  harmonic  form  and  the  cadential  effect  of  the  latter  must 
be  preserved. 

The  final  Tonic  chord  must  be  retained ;  but  it  may  be 
embellished ; 

And  the  chord-third,  or  even  the  chord-fifth,  may  be  substituted 
for  the  Root  in  Soprano,  or  (rarely)  in  Bass. 

The  rhythmic  pulse  should  be  maintained  within  the  tones  of 
the  Tonic  harmony ;  still,  smooth  harmonic  progressions  (through 


Par.  19. 


PHRASE-REPETITION. 


other  chords)  may  be  ventured,  if  made  in  so  cautious  a  manner 
as  not  to  cancel  the  cadential  impression  (i.  e.,  not  until  the  tonic 
effect  is  established).  See  par.  21  and  25^.  For  example  : 


Andante. 


25. 


*i)  Correct  perfect  Cadence,  omitted  because  of  the  coming  repetition. 

*2)  Concealed  form  of  perfect  Cadence  :  compare  with  final  measure.  The 
rhythmic  pulse  is  actually  more  rapid  during  this  measure  (i6th-notes)  than 
anywhere  else  in  the  Phrase  ;  and  the  uppermost  part  has  the  chord-fifth  (e) 
fora  time,  instead  of  the  root  (a),  as  at  the  end.  The  cadential  impression  is, 
however,  preserved  by  the  cessation  (rests)  in  the  lower  parts.  For  other 
illustrations  of  cadence-bridging,  see  Exs.  26,  27,  28;  Ex.  46,  No.  i,  meas.  4; 
Ex.  50,  meas.  8;  Ex.  66,  meas.  4;  Ex.  73,  meas.  8;  Ex.  78,  meas.  12;  Ex. 
89,  meas.  8;  Ex  92,  No.  2,  meas.  8. 


1  Q.  The  Phrase  may  be  repeated  literally,  without  any 
changes  whatever,  excepting  those  involved  by  concealing  the  'per- 
fect Cadence.  See  Ex.  25. 

Also  BEETHOVEN,  Pfte.  Sonata,  op.  27,  No.  i,  first  movement,  first,  second, 
and  third  Phrases  (repetition-marks);  Pfte.  Sonata,  op.  28,  Finale,  meas.  1-8; 
9-16  (slightly  embellished).  —  SCHUMANN,  "  Album-Blatter  ",  op.  124,  No.  2; 
No.  7;  No.  9;  No.  15;  No.  17  —  frst  eight  measures  of  each.  —  CHOPIN,  Prel. 
op.  28,  No.  15,  meas.  1-8. 

But  it  is  far  more  usual  and  desirable,  as  conducive  to  thematic 
development,  to  introduce  unessential  alterations,  or  variations, 
during  the  repetition.  (See  par.  40.)  By  "  unessential"  is  meant 
unimportant  —  not  affecting  any  characteristic  or  essential  element 


PHRASE- REPETITION. 


Par.  19b, 


of  the    Phrase.     These  unessential   modifications  of  the   repetition 
may  be  classified  as  follows  : 

(a)  Unessential  embellishment  of  the  Melody  : 

Andante. 

m j "  __^,__i r-fc        mm 

— n3F 


26. 


s- 


1 


(modified  repetition.) 


^ 


-i-     t!M 

9(2   . 

•     ' 

^        ^        • 

_i  1  

1 

h 

-t->-d 

H  

BEETHOVEN. 


*i)  In  this  concealed  form  of  the  perfect  Cadence,  the  cadential  impres- 
sion is  preserved  by  every  prescribed  condition  (par.  3)  excepting  the  pause  or 
check  in  the  melodic  current;  the  rhythmic  movement  is  here  again  (as  in  Ex. 
25)  accelerated,  and  thus  maintained  during  the  melodically  ornamented  repe- 
tition. See  also:  CHOPIN,  Mazurka  No.  2  (op.  6,  No.  2),  first  8  measures. 

(b)   Changes  in 'the  harmony  and  modulation  : 

(Repe- 


27. 


&       '  ' .  I    I    I""!  i  I  J    r"L  |  -rp  g j     i 


H 


Par.  19c. 


PHRASE-REPETITION . 


tition.) 


FOLK-SOXG. 


See  also  Ex.  51,  No.  i,  meas.  1-8. — Ex.  62,  meas.  9-18. 
To  this  class  of  modifications  would  belong,  also,  a  repetition 
in  the   opposite  mode  of  the  same  keynote  (i.  e.,  transformed  from 
major  to  minor,  or  vice  versa)  ;   returning,  perhaps,  to  the  original 
mode  at  the  final  Cadence. 

See  CHOPIN,  Nocturne  17,  meas.  14-6  from  the  end;  CHOPIN,  Mazurka 
20,  meas.  17-24;  also  last  nine  measures;  BEETHOVEN,  String-quartet,  op.  18, 
No.  6,  first  movement,  meas.  45-52.  Ex.  89,  Part  II,  meas.  1-8. 

(c)  Shifting  the  Phrase-melody  upward  or  downward  to  a  differ- 
ent register,  or  different  part;  either  bodily  (i.  e.,  the  entire 
Phrase),  or  in  sections  : 

Allegro.          •*-jL 


28. 


3° 


PHRASE-REPETITION. 


Par.  19d. 


MENDELSSOHN. 


*i)  The  melody  is  shifted  bodily  upward  one  and  two  octaves,  from 
"Tenor"  into  "Alto  and  Soprano"  registers.  See  also  Exs.  29;  30,  No.  i; 
31.  BEETHOVEN,  Bagatelle,  op.  33,  No.  6,  meas.  1-8. 

(d)   Changes  in  character  and  style  of  accompaniment : 

Allegro. 


29. 


—*      *    —9\- 
— 4=5=t=T 

-0-    -0-      -0- 

(Pianoforte). 


*=1 


EE£ 
EESE 


Repetition  . 

|  (Violin).   | 


r 

* 


r    r 


BEETHOVEN. 


1 

J 


ntt=-==r. 
&         ?*^l 


S- 


f~ '         _,  ji^    -p- 


-*-I 


^= 


:*=    =t: 


*i)  Here  the  Cadence  is  not  concealed,  because  the  "  space  "  is  so  narrow 
as  to  render  it  unnecessary.  See  also  Ex.  30,  No.  i.  BEETHOVEN,  Pfte.  Sonata, 
op.  54,  first  movement,  meas.  70-77,  and  106-113. 


Par.  19e. 


PHRASE-REPETITION. 


(e)  More  complete  and  radical  changes  in  the  course  of  the 
Phrase-melody  (not,  however,  affecting  the  beginning,  or  the  end, 
or  destroying  general  resemblance)  : 


i.    Andante. 
-*9- 


if:    *•£*+£*£ 


3O. 


^ f _. £ . 

^-fT-Hl—^-N-gyP1^ ^--N^-g=pJ  ? 


2.    Allegretto. 


L^JZJZ          3E^ 

-^ — i  "'      0      f     1-<S>-Z— 


*i)  This  Cadence  is  not  concealed,  before  the  repetition,  because  there  is 
no  space  left  at  all.  See  par.  4. 

*2)  The  second  member  of  the  Phrase  is  entirely  changed ;  but  the  Cadence 
is  preserved.  See  also  Ex.  51,  No.  i,  last  eight  measures. 


32 


PHRASE-REPETITION. 


Par.  20 


2O.  In  rare  cases,  the  bridging-over  of  the  perfect  Cadence, 
before  repetition,  is  extended  into  a  brief  Interlude,  or  transitional 
passage,  of  one  or  more  (superfluous)  measures ;  but  it  must  be 
kept  so  inferior  in  character  and  contents  as  to  appear  unessential 
and  extraneous.  For  illustration,  the  8-measure  Phrase  given  in 
Example  10,  is  continued  and  repeated  as  follows  : 


31. 


(measure  7  ) 
(Ex.  10.) 


(Cad.  measure.) 


(superfluous  measure.) 
*1)        (Interlude.) 


k-£~ 


(Repetition.) 


^-5^ 


BEETHOVEN. 


-^—  i       •^•~ 

r     r 


-=9t 


? 


*i)  This  measure  is  kept  subordinate  by  reduction  to  one  part,  and  by  thfe 
suppression  of  the  accompaniment. 

*2)  Compare  this  repetition  with  Example  10;  it  illustrates  the  change 
of  register  (19^),  not  entire,  but  fa  sections. 

See  also  MENDELSSOHN,  "  Songs  without  Words",  No.  46,  meas.  3-12. 

Nothing  more  than  such  a  distinctly  unessential  interlude  could 
intervene  between  a  Phrase  and  its  "repetition",  without  trans- 
forming the  structural  trait  of  "repetition"  into  that  of  "recur- 
rence ".  A  repetition  is  a  (practically)  imt:*ediatc  reproduction. 
See  par.  81  a  and  b. 


par.  23.  PHRASE-REPETITION.  33 

2  1  .  Reverting  to  par.  18  (which  review),  it  must  be  dis- 
tinctly understood  that  no  essential  change  of  the  harmonic  form  of 
the  Cadence  is  permissible  in  the  case  of  entire  repetitions.  This 
preservation  of  the  cadence-harmony  is  the  inviolable  condition 
upon  which  the  assumption  of  "  repetition  "  depends. 

The  Cadence  is  the  "  aim"  of  the  Phrase ;  and  it  is  only  when  the  original 
harmonic  aim  is  retained,  that  the  Phrase  may  be  said  to  have  been  "repeated". 
Any  essential  alteration  of  the  harmonic  aim  (the  Cadence-chords)  would 
resolve  an  otherwise  apparent  "repetition"  into  two  separate  Phrases,  with 
independent  direction  and  aim.  See  notes  and  context  to  Ex.  46.  The  dis- 
tinction between  apparent  repetition  and  actual  repetition  (depending  upon 
whether  the  Cadences  are  essentially  different  or  not)  is  of  the  utmost  impor- 
tance, because  genuine  repetition,  whether  variated  or  not,  never  constitutes 
any  change  or  actual  advance  in  the  formal  design  of  the  composition ; 
whereas,  an  apparent  repetition,  which  proves  ultimately  to  have  been 
thwarted  by  a  real  change  of  cadence,  contributes,  as  new  member,  to  the 
progressive  enlargement  or  evolution  of  the  design. 

22.  Two,  or  even  more,  repetitions  may  occur  in  succession, 
somewhat  like  a  series  of  simple  Variations  (e.  g.,  the  Ciaccona  for 
solo  violin,  by  BACH  ;   the  Chaconnes  of  HANDEL,  for  Harpsichord  ; 
the  thirty-two  C-minor  Variations  of  BEETHOVEN,  etc.)  ;  each  repe- 
tition being  differently  modified,  possibly  in  a  certain  systematic  pro- 
gression,    See  BEETHOVEN,  Bagatelles,  op.  33,  No.  6,  meas.  31-46. 
BRAHMS,  op.  118,  No.  5,  second  tempo  (Phrase  with  5  repetitions). 

23.  The  OBJECT  of  Phrase-repetition,    and    of    repetition    in 
general,  is  : 

To  establish  unity  of  thematic  design  by  direct  corroboration ; 

To  give  additional  emphasis  to  the  Phrase  or  member,  and  to 
define  its  contents  more  clearly ; 

And,  finally,  to  obtain  greater  simplicity  and  repose  of  elemen- 
tary character  than  \vould  result  from  a  succession  of  constantly 
changing  Phrases  or  members.  The  repetition  will,  therefore, 
be  most  desirable  when  the  Phrase  is  of  a  somewhat  abstruse 
or  complex  nature  ;  or  of  unusual  length  ;  or  when  interesting 
and  important  enough  to  tempt  the  desire  for  (and  justify)  a  second 

hearing. 

EXERCISE  3. 

Select  a  number  of  the  Phrases  invented  in  Exercise  2,  or  invent  new 
ones,  and  add  a  repetition  to  each,  illustrating  the  five  principal  varieties  of 
modification  given  in  paragraph  19.  All  five  modes  may  be  applied  successively 
to  one  and  the  same  Phrase  (22) ;  or  single  repetition  may  be  applied  to  each  of 


34 


THE  EXTENSIONS  AT  THE  END  OF  A  PHRASE. 


Par.  25a. 


five  different  Phrases,  with   that  variety  of  modification  which  appears  to  be 
respectively  most  appropriate. 

2.  THE  EXTENSIONS  AT  THE  END  OF  A  PHRASE. 

24.  The  extensions  at  the  end  are  of  a  two-fold  nature,  con- 
sisting, istly,  of  such  as  lie  -within  the  Cadence,  and  2ndly,  of  such 
as  lie  beyond  the  Cadence. 

25.  To  the  first  class  (inside)  belong  : 

(a)  The  repetition  of  the  second  half  of  the  Phrase  ;  possibly 
exact,  but  usually  modified. 

This  involves,  as  a  rule,  a  more  or  less  complete  "  Evasion  " 
of  the  perfect  Cadence, — an  act  which  differs  from  the  simple  con- 
cealment of  the  Cadence  (shown  in  par.  18),  in  being  a  more  pro- 
nounced deviation  from  the  latter,  and  often  consisting  in  a  different 
form  of  harmony  altogether.  The  approach  to  the  Cadence  is  usually 
not  affected  by  the  prospective  evasion,  as  the  latter  does  not  begin 
until  the  Tonic  element  of  the  Cadence  is  due,  or  has  been  felt, 
upon  its  proper  beat.  The  evasion  is  then  effected  : 

By  substituting  an  Inversion  for  the  fundamental  form  of  the 
Tonic  chord  (i.  e.,  3rd  or  5th  in  Bass)  ; 

By  substituting  the  VI  for  the  I  (Ex.  33,  No.  i) ; 

Or  by  substituting  any  other  chord,  even  of  another  key,  which 
contains  the  original  Tonic  note  in  sufficient  prominence  to  preserve 
the  cadential  impression. 

In  any  case,  the  rhythmic  pulse  is  sustained  in  one  or  more 
of  the  parts ;  and  the  melody  and  harmony  are  so  conducted  as  to 
lead  smoothly  into  the  desired  repetition. 

The  difference  between  "concealing"  and  "evading"  the  Cadence 
will  become  amply  apparent  upon  carefully  comparing  the  details  enumerated 
in  these  last  few  lines,  with  those  given  in  paragraph  18. 

For  illustration  : 


i.    Andante. 


32. 


Par.  25a.  THE    EXTENSIONS    AT    THE    END    OF    A    PHRASE.  35 

MENDELSSOHN. 


, 

:dz 


5*-          3 


=3=+t?=3:  i-'—  =FF 


Cadence. 
•1) 


Extension 


2.    Andante. 


evaded  Cad.  *2)  esten- 


flTf         "*"  Z2\Jt 

^ytf 
\j 


t|=?~ f=^=F=^5=^ 

— 1— *— »— = a^ 


Of 


3.    Andante. 


t*=t 


C? 

«P"        ^ 

^  '2-«:" 


?*3 


ct3— ^ 


evad. 


__-jf_^jf ,*.-•£ 


MOZART. 


=t= 


Cad.   *4) 


-is  ,  rn- 
-g       9=2=    •  [   i  j  i   f 

f  w    if    *-J w^  ; 


-n>- 


I 


THE  EXTENSIONS  AT  THE  END  OF  A  PHRASE. 


Par.  25b. 


*i)  The  expected  Cadence  is  evaded  in  this  case  by  placing  the  chord- 
third  in  the  Bass,  and  the  chord-fifth  (leading  downward  to  the  Root)  in 
Soprano.  Compare  with  correct  form,  two  measures  later;  and  observe  the 
modification  in  the  treatment  of  second  Phrase-half,  when  repeated. 

*2)  This  peculiar  evasion  of  the  expected  Cadence  will  be  best  understood 
by  comparing  it  with  the  correct  form,  four  measures  later.  It  even  affects 
the  approach  to  the  Cadence,  but  the  cadential  relation  is  preserved  by  cling- 
ing to  the  key-note  (e)  in  the  Soprano. 

*3)  In  this  example,  there  are  two  repetitions  of  the  second  half  of  Phrase; 
the  first  time  with  the  same  form  of  evaded  Cadence,  and  the  second  time 
with  the  correct  perfect  Cadence. 

*4)  Also  a  peculiar  mode  of  Cadence-evasion,  sometimes  called  "  Inter- 
cepted Cadence".  It  answers  sufficiently  well  for  the  expected  Cadence,  as 
the  accented  chord  (the  IV, — b,  d,  f)  actually  contains  the  Tonic-note.  The 
repetition  covers  a  little  more  than  half  the  Phrase,  reaching  back  abruptly  to 
the  beginning  of  the  2nd  measure. 

See  also  MENDELSSOHN,  "  Songs  without  Words  ",  No.  n,  meas.  9-3  from 
the  end.  BEETHOVEN,  Bagatelle,  op.  33,  No.  i,  last  nine  and  one-half  measures. 
SCHUBERT,  Song,  "  Haiden-Roslein  ",  meas.  5-10. 

(b)  The  repetition,  or  (more  rarely)  the  sequence,  of  the  last 
member  of  the  Phrase ;  possibly  a  single  repetition,  but  usually 
twice  in  succession. 

This  generally  refers  to  the  last  quarter  of  the  Phrase,  or  a 
trifle  more ;  and  the  evasion  of  the  Cadence  is  necessary,  because, 
in  this  case,  the  original  (expected)  Cadence  is  not  to  be  included 
in  the  extension.  For  example  : 

Andante. 

-~- 

V 


33. 


b  I  V  I      V 


Par.  26. 


THE  EXTENSIONS  AT  THE  END  OF  A  PHRASE. 


37 


MENDELSSOHN.  No.  35.  *2) 


=   Extension. 


*i)  The  expected  perfect  Cadence  is  evaded  by  substituting  the  VI  for  the  I. 
The  three  notes  in  Soprano,  which  immediately  follow,  are  included  in  the 
evaded  Cadence,  and  serve:  istly,  to  sustain  the  rhythmic  pulse;  2ndly,  to 
lead  smoothly  into  the  first  tone  (b)  of  the  member  to  be  reproduced.  The 
reproduction  of  the  last  member,  which  then  follows,  occurs  twice,  each  time 
in  a  modified  melodic  and  rhythmic  form  (the  harmony  remaining  the  same). 

*2)  The  numbers  after  Mendelssohn's  name  invariably  refer  to  his  "  Songs 
without  Words". 

*3)  The  perfect  Cadence  is  completely  evaded  by  turning  back  abruptly  one 
measure,  where,  on  the  first  beat,  a  Tonic  chord  occurs  in  the  very  form  suit- 
able for  evasion  (chord-fifth  in  Soprano,  and  chord-third  in  Bass ;  see  Ex.  32, 
No.  i,  meas.  4).  The  extension  consists  in  repeating  this  third  measure  twice, 
the  first  time  exactly,  and  the  second  time  with  altered  harmonization. 

26.  To  the  second  class  (outside  of,  or  beyond,  the  Cadence) 
belong  : 

(a)  The  Repetition  of  the  entire  Cadence-group  (of  chords), 
usually  at  least  twice,  and  possibly  modified. 

This  will  usually  embrace  the  last  three  or  four  chords,  in- 
clusive of  the  original  Cadence ;  and  no  evasion  of  the  latter  will 
be  necessary  or  even  practicable,  because  the  Cadence,  as  it  stands, 
is  to  be  included  in  the  extension.  The  rhythmic  pulse  may,  or 
may  not,  be  sustained.  For  example  :: 


i.    Andante. 


^  S 


84. 


EfeV 


THE  EXTENSIONS  AT  THE  END  OF  A  PHRASE. 


Par.  26b. 


Vivace. 
-fi-f-t 


HAYDN. 




1  —  C 

__. 

-r~T 

I  — 

3EEg 

> 

^-.' 

t- 

i= 

I 

"  t 

±    T    £     i; 

c        T    ? 

U         ^     U 

•J 

v- 
r 

I 

*i)  This  is  a  Semicadence  (par.  36)  instead  of  a  perfect  Cadence ;  but  that 
makes  no  difference,  as  this  principle  applies  to  every  variety  of  Cadence. 
The  rhythmic  pulse  is  not  marked,  contrary  to  common  usage.  The  repetition 
of  the  Cadence-member  occurs  in  this  instance  no  less  than  eight  times,  includ- 
ing one  change  of  register,  an  acceleration  (diminution)  of  the  rhythm,  and  a 
series  of  rhythmic  shifts  which  alter  the  location  of  the  figure  in  the  measure. 

*2)  The  five  i6th-notes  which  follow  the  Cadence  merely  serve  to  sustain 
the  rhythmic  movement  (compare  Ex.  33,  note  *i)). — *3)  Original  melodic 
form  of  Cadence,  transferred  to  next  higher  octave. — *4)  Embellished  form 
of  the  same. — *5)  Half-measure  sequences  of  foregoing  figure. 

See  also  Ex.  41,  No.  4,  note*7).  And  MENDELSSOHN,  "Songs  without 
Words",  No.  20,  meas.  12-5  from  the  end. 

(b)  The  repetition  of  the  two  Cadence-chords  (V  and  I); 
usually  at  least  twice,  and  either  in  the  same  form,  or  with  any 
rhythmic  or  melodic  modification  of  the  form. 

This  species  of  extension  will  often  be  found  to  differ  but 
slightly  from  (a),  cited  above;  though  it  is  generally  more  frag- 
mentary than  the  latter.  For  example  : 

Allegro.  .          I  ^ „ 


35. 


m 


^ 


? 


Par.  26b.     THE  EXTENSIONS  AT  THE  END  OF  A  PHRASE. 


39 


MENDELSSOHN. 


VV          IVVIVV  I 


2.    Allegretto. 


1  T  i —      i*  I  -P*~  •          1      '  — r~ — ~ —  I 

=J~M^— *-f=^-  =f=3=^=  =^=j=^j= 

— =±  ^*—»:  |.      l^zfa^^l'          — n  *    B^=^ 


^^ 


^5: 


E^ 


^^ 


j^fa 


-*— 


Cad.    Extension. 
*2) 


MENDELSSOHN.   No.  42. 


Cadence.    Extension. 
-(- 


1 0 1 1 !_4 1 1 1 1 1 •- 


I V I V IV  IV 


4° 


THE  EXTENSIONS  AT  THE  END  OF  A  PHKASE. 


Par.  26c. 


*i)  Two  exact  repetitions  of  the  last  three  (Cadence-)  chords. 

*2)  Four  repetitions  of  the  two  Cadence-chords,  as  continuation  of  the 
accompaniment.  The  first  and  third  repetitions  are  slightly  altered  in  form,  and 
sound  parenthetical,  because  the  melody  pauses  meanwhile  upon  its  Cadence- 
tone.  The  second  and  fourth  repetitions  are  an  exact  reproduction  of  the 
Cadence,  including  the  Soprano. 

*3)  The  Cadence  is  concealed  by  the  quicker  rhythm  in  the  Soprano  (bor- 
rowed from  the  Bass  of  the  first  measure). 

See  also:  MENDELSSOHN,  "Songs  without  Words",  No.  16,  first  three 
measures,  and  last  four  measures. 

(c)  The  reiteration  of  the  final  Tonic  chord,  to  an  optional 
extent,  and  in  optional  rhythmic  and  melodic  form. 

The  extent  (number)  of  these  reiterations  can  hardly  be  de- 
termined by  rule,  as  this  extension  usually  represents  the  last  oscilla- 
tions of  the  swinging  harmony,  the  "dying  out"  of  which  will 
depend  upon  the  peculiar  circumstances  embodied  in  the  Phrase. 
Instinct  will  be  the  best  guide.  As  a  rule,  the  Cadence-tonic,  in 
this  case,  must  fall  upon  the  first  accent  of  the  measure.  For 
example  : 

Moderate. 


36. 


p=t* 


^  ^  r — i i"-^ — F — i r^"1^  F 

*i^i=Splrz=S33 

tt  EX1* 


Cad. 

(Extension.) 

SCHUBER1 

s?\ 

/J!k  Jt       i 

~j 

—  ii??  —  T  — 

j,  £  —  .  

dim. 

^n~T~T—  1-q 

K£T 

-0-  ' 

—  —  |f  N  *-^T'*  —  ~*  *  —  •*  — 

1  J  1  3  ' 

'  —  J-i  — 

I  II 

See  also:  MENDELSSOHN,  "Songs  without  Words",  No.  4,  first  five 
measures  (compare  with  last  five  measures);  No.  6,  last  six  measures;  No.  8, 
last  eight  measures;  No.  12,  last  twelve  measures  (4-measure  Phrase,  repeated 
and  extended);  No.  27,  last  twelve  measures  (illustration  given  in  Ex.  32, 
No.  2,  with  reiterations  of  last  chord);  No.  31,  last  five  measures;  No.  42,  last 
eleven  measures  (illustration  given  in  Ex.  35,  No.  2,  with  reiterations  of  final 


Par.  27. 


THE  EXTENSIONS  AT  THE  END  OF  A  PHRASE. 


Tonic-chord,  and  one  additional  final  announcement  of  the  perfect-Cadence 
chords,  V-I). 

(d)  A  plagal  cadence,  of  more  or  less  elaborate  character,  dur- 
ing the  prolongation  of  the  final  Tonic  note  in  Soprano,  or  in  both 
outer  parts.  For  illustration  : 


37. 


Adagio. 


l_Extension. 
See  29  b. 


» 


:fe 


MENDELSSOHN.    No.  44. 


,Cad. 


H;J^ 


I I         I         !  ||'  |         |     _J-  | 


See  CHOPIN,  Nocturne  n  (op.  37,  No.  i),  last  five  measures;  during  the 
plagal  extension,  the  major  Cadence  is  substituted  for  the  original  minor. 
Nocturne  7  (op.  27, No. r),  last  eight  measures;  a  two-measure  Phrase,  repeated, 
and  extended  by  a  somewhat  elaborate  plagal  ending. 

These  various  extensions  are  often  applied  successively  to  one 
and  the  same  Phrase  :  see  BEETHOVEN,  Pfte.  Sonata,  op.  53,  Finale 
(Rondo),  measures  191  to  220: — (an  8-measure  phrase),  beginning: 


2  "7.  The  OBJECT  of  extensions  at  the  end  of  a  Phrase  is,  to 
prevent  the  movement  of  harmony  and  rhythm  from  breaking  off 
too  abruptly ;  and  the  degree  of  momentum  which  the  sentence 
may  have  acquired,  must  determine  the  propriety  and  extent  of  their 
use.  Furthermore,  they  also  serve,  of  course,  to  develop  their  por- 
tion of  the  resources  of  the  Phrase,  and  are  for  this  reason  generally 
permissible. 


42  THE  EXTENSIONS  AT  THE    BEGINNING  OF  A   PHRASE.        Par.  38. 

EXERCISE    4. 

A  number  of  former  Phrases,  or  new  ones,  with  extensions  at  the  end, 
according  to  the  modes  of  treatment  described  in  par.  25^  and  25^. 

EXERCISE  5. 

The  same,  according  to  the  modes  of  treatment  described  in  par.  26,  a,  bt 
c,  and  d. 

3.  THE  EXTENSIONS  AT  THE  BEGINNING  OF  A  PHRASE. 

28.  An  extension  of  the  Phrase  at  its  beginning  will  neces- 
sarily assume  the  nature  of  an  introduction;  i.  e.,  some  form  of 
harmony  and  melody  which  suggests  (or  prepares  for)  the  initial 
member  of  the  Phrase,  and  leads  smoothly  into  it. 

The  chief  difficulty  is,  to  keep  such  an  introductory  extension  so 
inferior  and  unessential  in  character,  that  it  will  not  be  mistaken 
for  the  real  beginning  of  the  Phrase. 

The  necessary  inferiority  will  be  ensured  if  either  the  element 
of  definite  melodic  or  definite  harmonic  progression  be  absent,  or 
obscure,  during  the  introductory  passage. 

Hence,  the  best  form  of  introduction  is  that  which  is  limited  to 
the  figure  of  the  accompaniment,  \vhich  may  anticipate  the  announce- 
ment of  the  melody  proper,  either  with  or  without  changes  of 
harmony. 

It  may,  however,  also  consist  in  an  anticipation  of  the  first 
figure  of  the  melody,  without  accompaniment ; 

Or,  in  a  brief  one-part  "Cadenza",  leading  into  the  latter, 
(see  Ex.  31,  meas.  2  and  3)  ; 

Or,  in  one  or  more  simple  annunciations  of  the  key-note  (or 
Tonic  harmony),  or  possibly  both  Tonic  and  Dominant  tones,  or 
chords,  without  definite  melodic  form. 

The  length  of  the  introduction  is  largely  optional,  but  it  will 
rarely  exceed  half  the  length  of  its  Phrase.  For  example  : 

i.    Andante.  MENDELSSOHN. 

I nt rod ...II  Phrase. 


38. 


i 


. 

u 


ii 


r  ' «  '  r    «     r 


Par.  28.         THE  EXTENSIONS  AT  THE  BEGINNING  OF  A  PHRASE.  43 


MENDELSSOHN. 


lutrod I  Phrase, 


m  m  j    j_ 

-  *  -  •*  -  *  -  -J  --  «  --  3  -  •—  ^  -  1  --  »  -  *  -  • 


_          _ 

^  -  1  --  »  -  *  -  •  -  *  -  ff 

^  -*—  *     *     *  -  if 

g-hB-f-fHf     It 


.V    I 


4.    Allegro. 


In trod. 

H i- 


/-•V  » 1  « f\ ' * r  w "t 

Gb    f... 


CHOPIN.    OP.  51. 


Phrase. 


5.    Allegro. 


HAYDN. 


m 


* 


lutrod. 


Phraae. 


- 


44  THE  EXTENSIONS  AT  THE  BEGINNING  OF  A  PHRASE.        Par.  28 

6.    Allegro. 


3P2F 

n^  * 

J 

Intro 

1 

I 

-Cy^ 

ri 

t  \*  1        J 

2 

1m                                                                            & 

-JS  " 

*                               ~^ 

s»       \» 

M           *                        i-  ^*           ^* 

Z     A 

I     *^           *^ 

LJ 


BEETHOVEN. 


rPa  

—  » 

£r 

-  — 

i  i  j 
([9:  J  *     sbttd 

f^^T- 

^ 

n^j  i-j=i 

PF^f 

. 

i  rr 


7.    Allegro. 


BEETHOVEN. 


*i)  In  the  first  and  second  examples,  the  accompaniment  precedes  the 
Phrase-melody  by  a  few  beats,  without  harmonic  change. 

*2)  Here  there  is  an  actual  chord-succession  in  the  introduction;  but  it  is 
derived  from  the  accompaniment,  and  the  entrance  of  the  melody  is  conspicuous 
enough  to  mark  the  beginning  of  the  Phrase  proper. 

See  also  MENDELSSOHN,  No.  35,  first  measure;  No.  i,  first  two  measures; 
No.  24,  first  two  measures;  No.  26,  first  three  measures;  No.  34,  first  two 
measures ;  No.  36,  first  three  measures.  The  passage  at  the  beginning  of  Nos. 
19,  29,  and  46  is  too  long  to  be  called  an  introduction  to  the  first  Phrase.-  (See 
par.  44.) 

•3)  The  upper  rests  in  this  measure  and  the  next  one  are  only  imaginary; 
while  the  introductory  passage  surely  does  not  belong  to  the  "  Melody  ",  as 
such,  it  is,  nevertheless,  the  same  tone-line,  and  leads  uninterruptedly  into  the 
latter. 

*4)  A  tentative  anticipation  of  the  first  figure  of  the  Phrase-melody. 

See  also  BEETHOVEN,  Symphony  No.  i,  Finale,  first  ten  measures  ; 
BRAHMS,  Serenade  in  A,  op.  16,  Finale,  first  six  measures;  SCHUBERT,  Pfte. 
Sonata  No.  6  (op.  147),  Finale,  first  six  measures. 


Par.  29. 


THE   EXTENSIONS   IN  THE  COURSE  OF  A   PHRASE. 


45 


4.  THE  EXTENSIONS  IN  THE  COURSE  OF  A  PHRASE. 

2Q.  These  represent  probably  the  most  important  class  of 
Phrase-extensions,  as  they  conduce  more  directly  than  those  at  the 
end  or  at  the  beginning,  to  the  coherent  development  and  growth 
of  the  thematic  substance  of  the  Phrase  as  a  whole.  They  consist  : 

(a)  In  one  or  more  repetitions  (exact  or  variated)  of  any  well- 
defined  member  of  the  Phrase,  anterior  to  the  Cadence-member. 

It  is  manifest  that  all  extensions  of  a  Phrase  will  simply  create  confusion 
and  lead  to  a  misapprehension  of  the  writer's  intention,  unless  they  are  recog- 
nizable as  '••extensions  "  -which  merely  add  to  the  sum  of  beats  and  measures 
ivit/iout  entirely  destroying  the  outlines  of  the  original  (regular)  Phrase,  or 
cancelling  the  impression  of  a  "  regular  design  "  as  fixed  basis  of  the  irregu- 
larly inflated  result.  And,  for  this  reason,  this  more  misleading  class  of 
extensions,  in  the  course  of  a  Phrase,  can  be  safely  undertaken  only  in  those 
phrases  which  contain  strongly  marked  members  or  figures,  with  -well-defined 
extremities. 

At  any  such  well-defined  "  joint  ",  the  Phrase  may  be — figuratively  speak- 
ing— pried  apart  to  admit  of  the  insertion  of  a  repetition,  sequence,  or  exten- 
sion of  any  kind  (and  of  almost  any  extent);  and,  if  sufficiently  marked  in 
character,  the  foregoing  member  will  be  readily  recognized  as  the  origin  of 
the  interpolated  reproduction. 


For  illustration  : 

Allegro. 


HAYDN. 


39. 


46         THE  EXTENSIONS  IN  THE  COURSE  OF  A  PHRASE.    Par.  29b. 

rExtension.-i  HAYDN. 

—•1       1^5 

i 


IHZ —         •)     tt — "*  «f —          ~ 

=££=>—  —*-=«—  --»       »       • 


HAYDN. 


_,    i   - — — r— — -fi — I — rH \-f^r. 1 n ' 1 — r  I      I  h» — r^— rr 

i    r  i  *^  , -+•  .-4-  -4-  •+         -j-  -*• 


*i)  Repetition  of  first  member  (first  half)  of  Phrase,  in  slightly  modified 
form.  This  class  of  repeated  Phrase-members  must  not  be  confounded  with 
the  illustrations  of  symmetrical  phrase-formation  given  in  Ex.  13,  No.  2,  and 
Ex.  17.  There  they  are  essential,  and  contribute  to  the  4-measure  design ; 
while  here  they  are  unessential,  inasmuch  as  they  constitute  extra  measures, 
beyond  the  4-measure  design. 

.*2)  This  extension  consists  in  a  three-fold  repetition  of  the  first  figure,  in 
alternating  upper  and  lower  registers. 

*3)  A  sequence  of  the  second  figure,  as  in  Ex.  40.  If  these  two  extensions 
be  cut  out,  a  perfectly  coherent  2-measure  Phrase  (the  original  design)  will 
remain.  This  is  sometimes  the  case,  but  not  necessarily  so. 

*4)  A  curiously  modified  version  of  the  first  Phrase-member.  This  exten- 
sion, also,  might  be  eliminated,  leaving  a  regular  4-measure  design. 

(b)   In  one  or  more  sequences  (exact  or  modified)  of  any  well- 
defined  member  of  the  Phrase.     For  example  : 


I.   />/•«/<>. 


40. 


Extension. 


HAYDN. 


ti  •f--*- 

„  •  -  _,~f°^T~\ —  f  .  -r-H^-t-         lif' 


i^^- 

*1}  J^S    t 

•*-:  i  i 

* :  *•    j- :   -;     * .  ~V-«-  ^  i  ^.^. 

^-T— * — rK_g i  •—— f— — r£-fcFE: 


Par.  29b.    THE  EXTENSIONS  IX  THE  COURSE  OF  A  PHRASE. 


47 


a.    Allegro. 


Extension. 


MENDELSSOHN. 


icf: 


«  .     I    4 

±;^L  y  j.  j 


HAYDN. 


48  THE  EXTENSIONS  IN  THE  COURSE  OF  A  PHRASE.  Par.  29c. 

*i)  A  sequence  of  the  second  measure  (figure)  of  the  Phrase. 

*2)  A  sequence  of  the  second  Phrase-member  (or  figure)  in  slightly  modi- 
fied form. 

*3)  A  sequence  of  the  first  member. 

*4)  Sequence  of  the  second  member.  As  already  intimated  (Ex.  39,  notes 
*3)  and  *4)),  these  extensions  are  often  so  adjusted  to  the  line  of  development, 
that  the  members  of  the  original  4-measure  Phrase  may  be  discovered  in 
coherent  form  without  them.  This,  however,  is  by  no  means  necessary;  it  is 
somewhat  more  likely  that  the  interlined  extensions  will  involve  alterations  of 
the  original  melodic  design;  or,  better  still,  they  will  be  so  naturally  inter- 
woven with  the  texture  of  the  Phrase  as  to  affect,  and  even  direct  (appar- 
ently) its  current.  But  see  the  remark  following  290. 

*5)  Two  sequences  of  the  first  member  (five  beats  in  length,  and,  therefore, 
recurring  in  shifted  measure). 

*6)  Two  sequences  of  the  second  member(three  beats)  in  modified  rhythmic 
form. 

The  number  of  sequences  or  repetitions  thus  introduced  in  the 
course  of  a  Phrase  depends  upon  circumstances,  and  can  scarcely  be 
determined  by  rule.  Smaller  members  or  figures  are  usually  repro- 
duced a  greater  number  of  times  than  larger  ones ;  and  sequences 
may,  without  risk  of  monotony,  be  multiplied  oftener  than  repeti- 
tions. 

More  than  one  single  exact  repetition  is  hardly  permissible  ;  in 
the  event  of  two  repetitions,  the  last  one  (the  third  version  of  the 
hierrvber)  must  be  modified. 

As  a  general  rule,  more  than  three  successive  sequences  are 
considered  weak  ;  still,  series  of  four  (and  even  many  more)  se- 
quences may  be  found  in  works  of  eminent  rank ;  especially  when 
consisting  of  smaller  figures  or  members. 

The  student  must  appeal  to  his  instinct  and  sense  of  proportion 
and  balance,  and  carefully  avoid  Monotony  on  the  one  hand  and 
Irregularity  or  Unevenness  on  the  other. 

(c)  In  the  expansion  of  any  prominent  chord ;  or  of  any  im- 
portant (prominent)  melody-tone ;  or  melodic  figure  (of  two  or 
three  tones). 

This  is  probably  most  frequently  and  most  extensively  applied 
to  the  Tonic  |  chord  (IJ  which  almost  always  appears  directly 
before  the  two  Perfect-cadence  chords,  usually  on  a  strong  accent 
(see  par.  6).  This  special  example  of  chord-expansion  as  extension 
in  the  course  of  a  simple  Phrase,  becomes  the  prototype  of  the  more 
or  less  elaborate  "  Cadenza  "  in  Concerto-movements.  The  conduct 


Par   e!)c. 


THE   EXTENSION'S    IN   THE   COURSE   OF  A   PHRASE. 


49 


of  the  upper  parts  (especially  that  of  the  melody  proper)  during 
the  prolongation  of  the  chord,  is  largely  optional ;  but  it  is  obvious 
that  it  should  be  in  strict  thematic  (or,  at  least,  organic)  agreement 
•with  the  rest  of  the  Phrase,  and  not  create  the  impression  of  a 
foreign  link.  The  rhythm  may  be  treated  with  great  freedom. 

Frequently  the  basstone  alone  of  the  Ia  is  prolonged  as  organ- 
point,  while  the  upper  tone-lines  sway  about  in  optional  har- 
monic succession,  either  returning  to  the  I3  or  passing  into  the  V 
of  the  Cadence.  In  this  case  the  I0  should  appear  on  a  strong  accent. 

But  the  expansion  may  also  be  applied  to  the  Dominant  chord 
which  precedes  the  final  Tonic  as  first  of  the  two  Perfect-cadence 
chords. 

And  it  is  furthermore  applicable  to  any  other  chord,  or  chords, 
in  the  Phrase,  if  they  be  of  sufficient  value  and  prominence  to 
warrant  the  expansion.  For  illustration  : 


i.     Moderate. 


41. 


MENDELSSOHN.     No.  4. 


50  THE   EXTKXStONS    IN  THE  COURSE  OF  A   PHRASE.  Par. ' 

MENDELSSOHN.    No.  42. 


^—•p«««—  ^-^  ^^^  4  t 

-v> 1"™*" l— — i — i — i — i-r— a 1 r  • — r^ —   — r~^ — "* ' — ™i — i — 

H — i — i — \-f-f-f^r{-* — • —  * — t  tH — -1 —  — r — I — — -1— — s— 

b —       H-»-^— ^-*-J    *     -* — 3 -* — h* — 9 —  "3 — * — — *~ 

E -— •*-  f-2 <-*- a— a— «-4- • — S— * — 2 — rt*~ti^i * —       — «— ?- 

-Urr-f^-*-?-1-*-1-      — ^— r3!*-^-  ~*f-c=J-T— 


V  expanded. 


3.     /}  ndante. 


-A— 


r- 


f'     «.    f.     X- 

MBNDBI.SSOHN.    No.  19. 


J2. 


V  expanded. 
4.    Allegro. 


*5) 


•*-      tfcC      •*" 

f  0  f"   •_r-i^-* — f"   |    *- r"T_^  t""i~t"  •  1~  *- 


»l 


*6) 


I2  expauded. 


Par.  29c.  TIIK   EXTENSIONS   IN  THE  COURSE  OF  A  PHRASE. 


^.Jt H^^r*  -r*..     f      .J^T**- 


5-     Larghet  o. 

:;fcf A^fc»y,)fi=J^  |^E^^ 

E^ 


*9) 


CHOPIN.     Op.  27 — i. 


6.     Lento. 


lit 


—     —I     f '    — 

Introd.      —      •*-  \     \    — — 


—       Segue. 


CHOPIN.    Op.  27 — 2. 


*10) 


7.     X  lltgro. 


(Original  fonu.) 
N.B 


N.  B.        BRAHMS.    Sym.  No.  3. 


(Expanded  form.) 

*i)  The  expansion  of  the  Tonic  J  chord  enlarges  the  Phrase  from  its 
original  four  measures  to  five. 

*2)  It  is  left  to  the  student  to  discover  how  ingeniously  this  long  expansion 
of  the  Dominant-note  in  bass  (as  Is)  is  interwoven,  in  the  upper  parts,  with  the 
thematic  structure  of  the  4-measure  Phrase. 


52  THE  EXTENSIONS  IN  THE  COURSE  OF  A   PHRASE.  Par.  Xc. 

*3)  An  expansion  of  the  Cadence  Dominant  chord,  which  serves  to  coun- 
terbalance the  foregoing  expansion. 

*4)  A  long  expansion  of  the  Cadence  Dominant  chord.  See  also  MEN- 
DELSSOHN, "Songs  without  Words",  No.  2,  last  ten  measures;  No.  33,  last 
five-and-one-half  measures;  No.  31,  last  eleven  measures  (particularly  meas.  9-6 
from  the  end);  and  also  Ex.  59,  meas.  11-12. 

*5)  This  exquisite  example  of  BRAHMS  (op.  79,  No.i)  contains  several  of 
the  above-mentioned  extensions :  at  first,  a  sequence  of  the  first  Phrase-mem- 
ber. At  *6)  an  expansion  of  the  Tonic  f,  with  richly  modified  melodic 
repetitions  (three  measures).  At  *7)  the  Cadence  is  due;  it  is  concealed  by 
continuing  the  rhythmic  pulse  in  the  inner  part  (imitating  the  Cadence- 
member  in  soprano);  and  is  followed  by  two  repetitions  of  the  Cadence- 
member.  At  *8)  the  final  Cadence-chord  is  reiterated. 

*9)  The  expansion  of  this  melody-tone  extends  the  4-measure  Phrase  to 
five  measures. 

*io)  The  melody-tone  a  is  expanded  from  a  half-measure  to  a  whole  one. 
See  Ex.  62,  note*3).  A  remarkable  illustration  of  chord-expansion  will  be 
found  in  BEETHOVEN,  Pfte.  Sonata,  op.  57,  meas.  17-24  (beginning,  as  usual,  to 
count  at  the  first  complete  measure).  BKETH.  Bagat.  op.  33,  No.  5,  last  19  m. 

See  also:  CHOPIN,  Pfte.  Sonata  Bj^-minor,  Trio  of  Scherzo,  first,  second, 
and  third  Phrases  (expansion  of  final  melody-tone);  CHOPIN,  Prel.,  op.  28,  No. 
2,  first  and  second  Phrases  (ditto).  CHOPIN,  Prel.,  op.  28,  No.  12,  meas.  49-65 
(expanded  II7,  meas.  57-63).  Also  Ex.  42,  meas.  3  and  4. 

N.  B.  It  is  scarcely  possible  to  overestimate  the  significance 
of  "  Expansion"  as  a  factor  of  composition.  The  principle  of 
expansion  lies,  in  a  certain  broad  sense,  at  the  very  root  of  the 
entire  art-growth,  which  carries  along  the  germinal  thought  and 
enlarges  the  raw  harmonic  material  from  one  stage  on  into  another 
and  higher  stage,  until  the  broadest  development  of  the  original 
idea  has  been  consummated.  The  larger  (i.e.,  longer)  forms  which 
are  to  follow  the  Phrase,  will  be  found  to  be  not  altogether  the 
results  of  addition,  but  also  of  deduction  and  evolution  ;  not  a 
multiplication  of  the  chords  contained  in  the  smaller  design,  but 
these  same  chord-progressions  expanded  or  magnified  into  broader 
dimensions.  Thus,  the  primary  succession  I,  IV,  V,  I,  which  might 
be  the  simple  beats  in  a  4/4  measure,  could  become  the  four  succes- 
sive measures  of  a  Phrase  ;  or  they  might  be  expanded  into  four 
successive  sections  (at  least  in  a  general  sense)  of  a  still  larger 
design ;  and  so  on.  An  illustration  of  this  is  found  in  Example  5, 
in  which  the  harmonic  basis  of  the  four  measures  is,  approximately, 
the  very  chords  I,  IV,  V,  I  suggested  above.  See  also  Example  10, 
where  the  harmonic  basis  of  eight  measures  is  limited  to  no  more  than 
three  chord-elements;  and  Example  Ja,  embracing  only  I,  V,  I; 


Par.  29d. 


THE   EXTENSIONS   IN   THE   COURSE   OF   A    PHRASE. 


53 


and  Example  74,  the  eight  measures  of  which  contain  no  other 
chord-progressions  than  I  |  V  |  I  |  V,  I  ||  V  |  V  j  V,  I  |  IV,  V,  I|| 
(the  last  four  approximated).  This  emphasizes  the  importance  of 
the  advice  given  in  par.  5,  and  in  Exercise  2,  "to  use  as  few  chords 
as  possible". 

(d)  In  the  substitution  of  a  new  Cadence-member  for  the 
original  one,  or  the  addition  of  a  new  Cadence-member,  when 
involved  by  foregoing  extensions. 

After  such  extensions,  in  the  course  of  the  Phrase,  as  may 
diverge  widely  from  the  original  thematic  line,  or  lead  quite  away 
from  the  original  (or  expected)  approach  to  the  Cadence,  it  is  often 
necessary  to  invent  an  entirely  new  Cadence-member.  Its  extent 
will  depend  upon  where  the  ultimate  cadential  impression  is  required, 
irrespective  of  the  aggregate  number  of  measures. 

It  is  evident  that,  while  new,  it  must,  nevertheless,  be  strictly 
coherent,  and  thematically  homogeneous.  For  illustration  : 


i.     Ami  in 


42. 


I  9         £         '  \     \ I 


54  THE  EXTENSIONS  IN  THE  COURSE  OF  A  PHRASE.  Par.  30. 

a.    Andante.  Ca(l.         P 


Original  form ||  Repeated 


^-*-  *-^-L£— ft 


-f-JL.   *.  JL  *-    segue 


^  r|      i      i    ^ 
AJ.  A.  A.  JL 


irl?=fi»: 


i^E 


*i)  These  two  measures  are  an  expansion  of  the  chord  c  -  e  -  g  -  b ;  the 
Soprano  is  thematically  related  to  the  c  at  the  beginning  of  the  5th  measure, 
of  which  it  is  an  anticipatory  expansion.  *2)  The  two  half-notes  are  expanded 
quarter-notes  (half-measure  expanded  to  whole  measure).  *3)  The  perfect 
Cadence  is  due  on  this  beat  (see  two  measures  later)  ;  it  is  evaded  by  a 
Sequence  of  the  foregoing  measure.  *4)  The  "  new  Cadence-member ".  It 
cannot  be  called  a  new  "  Phrase  ",  not  only  because  of  its  brevity,  but  because 
no  actual  Cadence  has  preceded  it,  to  terminate  the  current  Phrase.  It  is  "new", 
however,  inasmuch  as  it  differs  almost  entirely  from  the  original  Cadence- 
member  (in  meas.  5-6).  *s)  The  digression  begins  with  this  rj,  which  enhar- 
monically  represents  the  original  d\).  The  three  following  measures  are 
a  repetition  and  expansion  of  the  first  melodic  figure  in  measure  3. 

*6)  The  "  new  Cadence-member  "  ;  see  note  *4). 

*7)  A  curious  suppression  of  the  Cadence-tonic  in  the  highest  part.  Its 
place  is  filled  by  the  keynote  in  Bass. 

3O.  The  extension  of  a  Phrase  during  its  course,  as  above 
shown,  is  rarely,  if  ever,  undertaken  at  the  very  beginning  of  a 
composition  (i.  e.,  with  the  first  Phrase  or  upon  the  first  appear- 


Par.  31.  THE  CHAIN-PHRASE.  55 

ance  of  a  Phrase).  It  is  often  very  appropriately  applied  to  the 
repetition  of  a  Phrase,  as  a  means  of  modifying  the  second  version 
(see  19)  ;  and  it  may  be  introduced  in  any  of  the  later  phrases  of  a 
section  of  the  form.  It  is  of  peculiar  value  in  the  construction  of 
transitional  passages  and  Phrases,  as  will  be  seen  in  due  time. 

EXERCISE    6. 

Former  Phrases,  or  new  ones,  with  extensions  at  the  beginning  (par.  28); 

And  in  the  course,  according  to  29  a  and  b.  In  the  latter  case  the  Phrase 
is  first  to  be  written  out  (at  least  the  Melody)  in  its  original  regular  form,  and 
then  extended  (about  as  in  Ex.  42,  No.  2). 

EXERCISE    7. 

Extensions  in  the  course,  according  to  par.  2gc  and  d.  The  Phrases  are 
first  to  be  written  out  in  regular  form,  and  then  extended. 


CHAPTER  IV. 

THE  CHAIN-PHRASE.     MELODY-EXPANSION. 
IRREGULAR    PHRASE-FORMATION. 

31  .  The  extensions  in  the  course  of  the  Phrase,  particularly 
the  repetitions  and  sequences  (par.  29  a  and  b)  of  small  motives 
and  figures,  are  sometimes  multiplied  in  such  a  manner  and  to  such 
a  degree  as  to  give  rise  to  an  irregular  design,  for  which  the  term 
"  Chain-phrase"  may  most  appropriately  be  adopted,  inasmuch  as 
the  successive  members  assume  the  character  of  continuous  small 
links,  in  a  chain  of  arbitrary  form  and  extent.  It  can  scarcely  be 
regarded  as  a  legitimate  design,  for  it  is  the  type  of  formlessness, 
and  is,  therefore,  beset  with  dangers  for  the  beginner.  But,  if 
coherently  developed,  it  is  justifiable,  and  is  often  extremely  effec- 
tive in  the  service  of  necessary  climaxes ;  and  also  in  transitional 
sections,  which  tend  persistently  during  many  measures  toward  a 
desired  point,  in  uninterrupted  career. 

The  impression  of  a  Cadence  must  be  scrupulously  avoided,  as 
it  would  separate  the  "  chain  "  of  thematic  links  into  a  "  group" 
of  distinct  Phrases. 


THE  CHAIN-PHRASE. 


Par.  31. 


And  a  certain  reasonable  limit  must,  of  course,  be  observed. 
For  illustration  : 

i.     Allegro  TtVitCf 


43. 


,  

gO^  =F->==qF^=*-*^, HP"  *  v 

•  I±~ 


BEETHOVEN.    Op.  78. 


etc. 


2.     Agitato. 


Phrase,  repeated,  and extended. 


Par.  3>. 


MELODY-EXPANSION. 


57 


fe^^^E^^=^3^=^E^=^=pF^~:^ 


segue 


*2) 


ere      -      -      seen 


¥ 


MENDELSSOHN.   No.  10. 


— i-**i — * — £— n — I — -1 — I 

-^n-r±=B=33E=?= 

g*  *•    * 


//**> 


u_ 


*i)  The  original  4-measure  Phrase  extends  to  this  beat.  The  thirteen 
or  fourteen  measures  which  follow  are  all  forged,  like  so  many  "  links  ",  out 
of  the  second  half  of  the  Phrase,  chiefly  out  of  the  figure  contained  in  its  third 
measure. 

*2)  The  "links"  of  the  Chain-phrase  are  here  derived  from  the  second  and 
third  notes  of  the  second  measure  of  the  original  Phrase,  and  are  reproduced 
sequentially,  at  first  in  groups  of  three,  and  finally  in  progressive  ascending 
succession. 

*3)  This  measure  corresponds  exactly  to  the  original  second  measure. 

*4)  This  example  embraces  no  less  than  twenty  measures  (including  the 
original  Phrase  and  its  repetition),  all  developed  out  of  a  brief  4-measure 
Phrase,  and  so  interlocked  as  to  avoid  a  cadential  impression  at  any  point  in  the 
course  of  the  Chain-phrase. 

See  also  Ex.  56,  first  thirteen  measures.     Ex.  85,  meas.  9-19. 

See  also:  MENDELSSOHN,  "Songs  without  Words",  No.  2,  meas.  35-20 
from  the  end;  No.  14,  last  ten  measures;  No.  17,  end  of  meas.  28  to  meas.  35; 
No.  23,  meas.  21-10  from  the  end;  No.  45,  meas.  24-12  from  the  end. 
BEETHOVEN,  Pfte.  Sonata,  op.  31,  No.  3,  first  movement,  meas.  34-19  from 
the  end.  BEETHOVEN,  Pfte.  Sonata,  op.  28,  first  movement,  meas.  57-94 
from  the  double-bar  (thirty-eight  measures  long,  and  preceded  by  a  similar 
Chain-phrase  of  sixteen  measures).  SCHUBERT,  Pfte.  Sonata  No.  7,  (op.  164) 
first  movement,  meas.  16-27;  Finale,  meas.  71-94.  BRAHMS,  op.  119,  No.  3, 
last  22  measures. 

MELODY— EXPANSION. 

32.  A  simple  brief  Phrase,  or  Phrase-member,  may  be  utilized 
as  a  thematic  germ,  and  be  developed,  by  means  of  repetition  and 
tone-expansion,  into  a  melodic  thread  of  considerable  length.  This 


MELODY-EXPANSION. 


Par.  32. 


process  differs  from  that  employed  for  the  Chain-phrase,  in  that, 
as  a  rule,  it  does  not  involve  the  "  sequence  ",  nor  the  necessity  of 
avoiding  slight  cadence-impressions  in  the  course  of  the  entire 
expansion.  It  is  most  commonly,  though  by  no  means  exclusively, 
encountered  in  the  closing  sections  (Codettas,  see  par.  51)  of  larger 
forms,  where  the  gradual  enlargement  of  a  foregoing  thematic 
member  accords  well  with  the  gradual  relaxation  of  the  rhythmic 
and  harmonic  momentum.  It  is  cited  here  more  by  way  of  illus- 
trating a  resource  of  great  future  value,  than  for  special  exercise  by 
the  student,  at  this  point.  For  example  : 


i.   Andante. 


44. 


4*      u  i       i  ™       i       I  -  I        l  "'        I     J I 


— a — » —      — »  i  T 

^wrrrpSS 

— .^—    i 


MENDELSOHN.    No.  32. 


3.     y4  ndtinte. 


I  i 


Origioal  form. 


etc. 


Expanded  form. 


Par.  33. 


IRREGULAR    PHRASE-FORMATION. 


59 


MENDKI  SSOHN    No.  7. 


-*- 
sn  /; 


4.      Vivace. 


*J  '  ^^  »tr- 


Original  form. 


5.     /J  ndante. 


J 


Expanded  form. 


Original  form. 


I  hequeiice  of  a.  |  sequencf  of  1». 


BRAHMS.   *3) 


J 


*i)  The  pupil  is  expected  to  refer  to  each  "  Song  without  Words"  indicated 
by  number,  and  to  examine,  carefully,  the  entire  harmonic  equipment  (which 
is  of  very  great  importance),  and  the  general  surroundings.  The  extracts 
given  will  all  be  easily  found,  near  the  end  of  the  number. 

*2)  These  three  tones  are  apparently  a  gratuitous  insertion,  but  they 
relate,  as  a  kind  of  sequential  anticipation,  to  the  figure  marked  "  a  ". 

*3)  Third  Symphony,  andante  movement,  near  the  end.  The  relation  of 
figure  "  c  "  to  figure  "  a  "  must  not  be  overlooked. 

IRREGULAR  PHRASE— FORMATION. 

33.  It  is  sufficiently  obvious  that  the  modes  of  extension  and 
development  explained  in  par.  24—32  are  liable  to  impart  an  irregular 
metric  design  to  the  original  regular  4-measure  Phrase  (as  regards 
the  aggregate  number  of  measures). 


6o 


IRREGULAR     PHI?  ASK- FOR  MAT  ION. 


Par.  33. 


But  it  is  also  possible  that  the  original  conception  of  a  Phrase 
may  assume  an  irregular  dimension,  namely  :  a  length  of  3,  5,  6,  7, 
9  measures ;  and  examples  of  this  kind  are  by  no  means  rare. 

The  irregularity  results  either  from  reaching  the  Cadence  a 
measure  too  soon,  and  then  simply  omitting  the  following  (legiti- 
mate Cadence-)  measure,  in  order  to  relieve  the  Cadence  of  unneces- 
sary weight ;  this  accounts  for  the  majority  of  3-measure  and  7- 
measure  Phrases ; 

Or  the  irregularity  results  from  an  unequal  association  of 
melodic  members.  For  illustration  : 


i.     Andante. 


•4- 


45. 


4- 


3-measure  Phrase.   *1) 

J^^fc-  m  -  •    • 

-t- 


MENDELSSOHN.   No.  40. 


Cart.       TJ       .... 
evad.     Repetition. 


MOZART. 


3-measure  Plirase.   *2) 
3.     Adagio. 


Sequence. 


SCHUBERT. 


S-measure  Phrase.  *3) 
4.    Largo. 


5-meamire  Phrase.   *4) 
5.     Allegro.  a   ~" 


i 


HAYDN. 


6-measure  Phrase.   *5) 
6.     Allegretto. 


6-nieasure  Phrase.   *6) 


Par. 


IRREGULAR    PHRASE-FORMATION. 


6l 


SCHtfBERT. 


7.     Allegretto. 


J. 


7-measure  Phrase.  *7) 

MENDELSSOHN.   No.  12 


ffrfj-r^^i     \  _  Jj^_f^: 


*i)  This  is  a  somewhat  unusual  specimen  of  a  Phrase  of  three  large 
measure?  in  s/o-i'  tempo.  The  3-measure  Phrase  is  quite  frequently  merely  a 
magnified  example  of  the  triple-weaxurc,  each  beat  corresponding  to  an  entire 
measure;  and  when  this  is  the  case  it  is  most  common  and  most  intelligible  in 
rapid  tempo,  and  generally  appears  in  groups  of  at  least  two  or  mo.-e  Phrases. 
See  BEETHOVEN,  Symphony  No.  9,  second  movement,  twenty-srven  meas- 
ures from  the  first  repeat  (ritmo  di  tre  battute).  MEXDELSSOHX,  "Songs  without 
Words  ",  No.  9,  first  three  measures ;  No.  16,  first  three  measures.  SCHUBERT, 
<l  Winterreise  ",  No.  18,  first  three  measures. 

*2)  3-measure  Phrase  in  more  animated  rhythm,  and  followed  by  a  se- 
quence. Compare  Note  *i). 

*3)  This  5-measure  Phrase  results  from  the  union  of  one  2-measure  with 
one  3-measure  member. 

*4)  The  5-measure  dimension  might  be  accounted  for,  in  this  case,  as  the 
resulfof  a  modified  repetition  of  the  first  measure, — i.  e.,  regarding  the  second 
measure  as  superfluous;  compare  with  Ex.  39,  note  *i),  in  which  there  is  no 
doubt  about  the  unessential  nature  of  the  extra  measures.  It  appears  probable, 
however,  that  this  second  measure  is  essential.  See  also  BEETHOVEN,  Pfte. 
Sonata,  op.  27,  No.  2,  first  five  measures.  SCHUBERT,  "Winterreise",  first 
five  measures  of  Nos.  15,  19,  20. 

*5)  A6-measure  Phrase,  consisting  of  three  members  of  two  measures  each. 
See  "  God  Save  the  King  ",  first  six  measures. 

*6)  Two  members  of  three  measures  each.  See  also  BEETHOVEN,  Pfte. 
Sonata,  op.  26,  last  movement,  first  six  measures. 

*7)  This  Phrase  aggregates  only  seven  measures,  simply  because  the 
Cadence-tonic  falls  prematurely  (in  the  seventh  measure)  and  is  not  held 
throughout  the  eighth  measure.  Compare  with  meas.  15-22  of  the  same 
"  Song  without  Words  "  ;  and  see  "  Song  without  Words  ",  No.  6,  first  seven 
measures. 

MISCELLANEOUS    EXAMPLES    OF    PHRASE-EXTENSION. 

BEETHOVEN,  Pfte.  Sonata,  op.  31,  No.  i,  Adagio,  last  twelve  measures 
(2-measure  Phrase). 

BEETHOVEN,  Pfte.  Sonata,  op.  28,  Finale,  last  eighteen  measures  (4-meas- 
ure  Phrase). 

BEETHOVEN,  Pfte.  Sonata,  op.  28,  Finale,  meas.  29-43  (Phrase  repeated 
and  extended). 

BEETHOVEN,  Pfte.  Sonata,  op.  2,  No.  2,  Largo,  meas.  13-19. 


62  THE    PERIOD-FORM.  Par.  36. 

HAYDN,  Pfte.  Sonata,  No.  14  (Cotta  ed.),  Adagio,  last  fifteen  measures. 

"  "        No.  17  (     "         "  ),  first  eight-and-one-quarter  meas- 

ures. 

BEETHOVEN,  Pfte.  Sonata,  op.  10,  No.  3,  Largo,  meas.  17-26  (Phrase  re- 
peated and  extended). 

BEETHOVEN,  Pfte.  Sonata,  op.  14,  No.  2,  Finale,  last  eighteen  measures. 

"        op.  26,  Finale,  meas.  32^-48  (4-measure  Phrase, 
each  half  several  times  repeated). 

BEETHOVEN,  Pfte.  Sonata,  op.  101,  Finale,  last  fifteen  measures. 

EXERCISE   8. 

Former  Phrases  of  4-measures,  with  a  repetition  expanded  into  Chain- 
phrase  form.  A  few  experiments  in  the  process  of  Melody-expansion  and  in 
Irregular  Phrase-formation  may  also  be  made. 


CHAPTER  V. 

THE     PERIOD-FORM. 

34.  The    Period   consists    in    the    union    of    TWO    PHRASES, 
extending    consequently,    when   regular,    through    eight    ordinary 
measures  in  ordinary  moderate  tempo.     But  see  par.  i. 

35.  The  first  of  the  two   Phrases,  called  the  ANTECEDENT 
Phrase,  begins  with  the  Tonic  chord,  as  a  rule ; 

But  it  does  not  end  with  the  perfect  Cadence  like  the  simple 
Phrase,  because  such  a  Cadence  would  completely  finish  the  Phrase, 
and  render  the  addition  of  a  companion-phrase,  in  coherent  (un- 
broken) succession,  not  only  impracticable  but  unnecessary.  (See 
par.  2b.) 

The  Cadence  of  the  Antecedent  Phrase  must,  therefore,  be 
made  in  such  a  manner  as  only  partially  to  check  the  harmonic  and 
melodic  current.  Such  comparatively  lighter  interruptions  are 
called  SEMICADENCES. 

36.  The   harmonic   form  of    the   Semicadence    may  be    best 
defined    negatively,    as     "  any    chord-association     (with    cadential 
effect)  which  is  not  the  perfect  Cadence  "  (see  par.  3). 


Par.  37.  THE    PERIOD-FORM.  63 

The  most  common  and  natural  Semicadence  for  an  Antecedent 
Phrase  is  obtained  by  resting,  at  the  prescribed  accent,  upon  some 
Dominant  chord,  usually  as  concord,  but  occasionally  in  one  of  its 
discord-forms ;  this  Cadence-dominant  may  be  approached  through 
any  convenient  chord  (see  Ex.  46,  Nos.  i  and  3 ;  Ex.  47,  Nos.  2 
and  3). 

But  the  Semicadence  may  also  fall  upon  a  Tonic  chord,  on 
condition  that  its  root  does  not  appear  in  either  outer  part  in  such 
prominence  as  to  suggest  the  perfect  Cadence  (especially  when  the 
Tonic  is  preceded  by  a  Dominant  chord)  ; 

Or,  more  rarely,  upon  the  triad  VI,  the  Relative  of  the  I  (see 
Ex.  48,  Nos.  2  and  3  ;  Ex.  60). 

Or  it  may  fall  upon  a  Subdominant  chord  (IV  or  II),  though 
this  is  rarely  the  case  (Ex.  46,  No.  2). 

Or  the  Antecedent  Phrase  may  modulate,  so  as  to  end  upon 
some  chord  (usually  the  I)  of  a  next-related  key,  in  the  following 
order  of  preference  : 

Upon  the  I  of  the  Dominant  key ; 

Upon  the  I  or  V  of  the  Relative  key ; 

Upon  the  I  of  the  Dominant-relative  key ;    ' 

Upon  the  I  (rarely  the  V)  of  the  Subdominant-relative  key ;  ^ 

More  rarely  upon  the  I  of  the  Subdominant  key.  (Ex.  47, 
No.  i  ;  Ex.  48,  No.  i  ;^Ex.  59)  Ex.  68) — first  Cadence  of  each.) 

As  regards  the  location  and  rhythmic  treatment  of  the  Semi- 
cadence,  see  par.  3  and  4;  and  Ex.  46,  note  *i). 

37.  The  harmonic  and  melodic  character  of  an  Antecedent 
Phrase,  \vhile  necessarily  conforming  to  the  directions  given  in 
paragraphs  5,  8-12,  will  naturally  be  influenced  to  a  certain  extent 
by  the  altered  condition  of  the  Cadence ;  and,  as  a  rule,  the  choice 
of  Semicadence-chord  should  be  more  or  less  definitely  determined 
beforehand,  as  the  aim  toward  which  the  current  of  the  Phrase 
will  tend. 

It  is  at  least  certain  that  the  less  decisive  nature  of  a  semi- 
cadence  imparts  a  corresponding  unfinished  (conditional  or  inter- 
rogative) character  to  the  Antecedent  Phrase,  and  renders  it 
dependent  upon  its  following  companion  for  completion  and 
counterbalance.  It  is  a  thesis,  dependent  upon  its  antithesis ;  a 
Question,  awaiting  its  Answer. 


64  THE  PARALLEL  CONSTRUCTION.  Par.  39a.~, 

38.  The   second   of   the   two   Phrases   in   the   Period-form   is 
called  the   CONSEQUENT   Phrase.       It  begins   with  any  chord,   or 
key,  which  is  reasonably  adjustable   to   the  preceding  semicadence- 
chord ;  and  it  ends  with  the   perfect   Cadence,  in  the  manner  de- 
scribed in  paragraphs  3,  4,  6. 

Viewed  in  its  metric  aspect,  the  Consequent  Phrase  is,  when 
regular,  exactly  similar  in  length  to  its  Antecedent ;  and  both  its 
beginning  and  its  cadence  usually  correspond  (as  to  their  location 
in  the  measure)  to  beginning  and  cadence  of  the  Antecedent  Phrase. 

39.  Viewed  in   its  MELODIC   aspect,  the  Consequent  Phrase 
must,  obviously,  preserve  close   relationship   with   its   Antecedent, 
though  absolute  corroboration  is  not  obligatory. 

The  Period-form  may  (and  doubtless  should)  be  regarded  as  a  magnified 
Phrase,  whereby  the  "figures"  have  grown  into  "members",  and  the 
"members"  into  complete  "Phrases";  and  the  "quarter-cadence"  (par.  8) 
between  the  phrase-members  has  developed  into  a  "  semicadence".  From 
this  point  of  view,  the  metric  conditions  illustrated  in  Examples  12  and  13, 
and  emphasized  in  paragraph  12,  also  apply,  though  in  a  broader  sense,  to  the 
simple  Period-form. 

The  following  distinctions   influence,  and  possibly    govern,   the 
melodic  structure  of  the  Consequent  Phrase  : 

(a)   THE  PARALLEL  CONSTRUCTION. 

In  this  form,  the  melody  of  the  Consequent-phrase  more  or  less 
exactly  corresponds  to  that  of  the  Antecedent ;  sometimes  so  closely 
that  it  is  prevented  from  being  actual  Phrase-repetition  (the  form 
out  of  which  the  "  parallel  Period  "  is  evolved)  only  by  the  neces- 
sary distinction  in  the  formation  of  the  two  Cadences,  namely,  the 
Semicadence  of  the  Antecedent,  and  the  perfect  Cadence  of  the 
Consequent,  which,  of  course,  must  essentially  differ  from  each 
other,  in  order  to  constitute  the  Period-relation.  Compare  para- 
graph 21.  This  is  the  primary  and  most  natural  variety  of  the 
Period-designs. 

Usually,  however,  the  similarity  between  Antecedent  and  Con- 
sequent is  less  pronounced,  and  often  only  a  general  resemblance 
exists. 

In  some  cases  the  parallelism  is  established  by  constructing  the 
Consequent  Phrase  as  sequence  (partial  or  entire)  of  the  Ante- 
cedent. For  illustration  : 


Par.  ."/'a. 


THE    PARALLEL    CONSTRUCTION. 


46. 


*-r 


BEETHOVEN. 


Perfect  Cad. 


*2) 


3 

I 


3.    Allegretto. 


AblT 


66 


THE    PARALLEL    CONSTRUCTION. 


Par.  :Wa. 


— l&l—j—     — *-- 1—  — - - — -•— ~  — * -»^ — -4- 

— *— —       ,        =c^ t^=H —      — f — ri —     — 3 — i — T—  «-C 

r  .  •  -»•-*•    «^ 


Semi  cad 
*4> 


Comeqneot 


^ 


Antecedent  Plirase. 


FOLK-SONG. 


Cad.   U        -— 

,-*>»  n,J-J-4 


^fc; T 

T^r  I- 


ja 


Con.seqnent  Phrase. 


r^r 

|v 


*i)  The  Semicadence  rests  upon  the  Dominant  concord,  which  falls  upon 
the  first  beat  of  the  Cadence-measure,  and  is  projected  into  the  second  beat. 
The  rhythmic  pulse  is  continued,  exactly  in  conformity  with  the  principles 
which  govern  the  "concealed  cadence"  (par.  18,  which  see).  The  necessity 
of  thus  "  bridging  over"  the  cadence-space  between  the  two  Phrases,  is  owing 
chiefly  to  the  momentum  of  th^  accompanying  figuration — a  factor  which 
never  ceases  its  motion  during  any  transient  cadence,  and  usually  impels  itself 
even  beyond  the  final  perfect  Cadence.  But  it  is  generally  desirable,  even  in 
the  absence  of  a  figural  part,  to  connect  the  Phrases  as  closely  as  is  compatible 
with  a  perfectly  unmistakable  cadence-impression.  After  this  latter  condition 
has  been  fulfilled,  it  is  not  even  necessary  to  remain  any  longer  within  the 
semicadence-chord.  This  is  illustrated  by  the  notes  in  small  type  which 
occupy  the  last  fractions  of  the  2nd  beat. 


Par.  39b.  THE    OPPOSITE    CONSTRUCTION.  67 

*2)  The  Consequent  Phrase  is  a  literal  reproduction  of  the  Antecedent, 
only  excepting  the  very  last  chord,  which,  being  the  Tonic,  constitutes  a  per- 
fect cadence,  and  establishes  the  indispensable  condition  of  opposition  to  the 
Antecedent  Phrase.  See  again  par.  21. 

*3)  This  Period  begins  upon  the  Subdominant  harmony,  in  consequence 
of  occurring  in  the  course  of  a  larger  composition. 

*4)  The  Semicadence  also  rests  upon  the  Subdominant,  and,  therefore, 
leads  over  very  smoothly  into  the  Consequent  Phrase,  which  is  identical  with 
the  Antecedent  (excepting  changes  in  register  and  rhythm)  up  to  the  penulti- 
mate chord. 

*5)  The  Semicadence  rests  upon  the  Dominant  harmony,  and  the  rhythm 
is  completely  checked,  as  is  most  customary  and  appropriate  in  music  of  such 
a  simple  character.  For  further  examples  of  the  Period  of  preponderantly 
parallel  construction,  see  MENDELSSOHN,  "  Songs  Without  Words,"  No.  28, 
meas.  5-12,  and  meas.  13-20  (imperfect  Cadence)  ;  No.  29,  meas.  5-12;  No.  35, 
meas.  6-13;  No.  22,  meas.  10-17  (imperfect  Cadence).  Ex.  49  (of  this  book), 
first  four  measures;  Ex.  55;  Ex.  72,  first  eight  measures;  Ex.  73,  meas.  1-8; 
Ex.  75,  meas.  1-8;  Ex.  84,  meas.  1-8 ;  Ex.  85,  meas.  1-8. 

Furthermore,  BEETHOVEN,  Rondo,  op.  51,  No.  i,  meas.  1-8; 

BEETHOVEN,  Pfte.  Sonata,  op.  27,  No.  i,  Finale,  meas.  1-8; 
BEETHOVEN,  Pfte.  Sonata,  op.  10,  No.  3,  Menuetto,  meas.  1-16 ; 
BRAHMS,  Symphony  I,  last  movement  (Allegro),  meas.  1-8.    < 
SCHUMANN,  Jugend-Album,  op.  68,  No.  23  ("Reiterstiick"), 

first  8   measures;    prevented   from   being  a  "repeated 

Phrase  "  by  very  last  tone  only. 


(b)  THE  OPPOSITE  CONSTRUCTION. 

In  this  variety  of  the  Period-form,  the  melody  of  the  Conse- 
quent Phrase  pursues  largely  or  entirely  the  direction  opposite  to 
the  melodic  progressions  of  the  Antecedent. 

It  can  scarcely  be  claimed  that  this  is  a  natural  or  spontaneous  mode  of 
construction,  for  it  is  based  upon  a  process  which  is  largely  mechanical,  and 
may  result,  when  applied  too  strictly,  in  constrained  and  unmelodious  tone- 
lines.  But  it  represents  the  same  resource  of  thematic  development  as  the 
" Imitation  in  Contrary  motion  "  in  the  Polyphonic  forms,  and  is  of  value  to 
the  student  because  of  its  suggestiveness.  In  Homophonic  composition  its 
occurrence  is  rare. 


Occasionally  the  delineation  of  the  Antecedent  Phrase  is  almost, 
or  quite,  literally  thus  inverted  in  the  Consequent ;  but  usually  only 
the  general  melodic  drift,  or  a  few  of  the  more  striking  members, 
reappear  in  the  opposite  direction.  For  example  : 


68 


THE    OPPOSITE    CONSTRUCTION.  Par.  39K 

i.    Allegro.  Semi-cad.  \/ 


47. 


—  * 


I       I/ 


I  — r  ^      | —      |  g 

n~r  y-^g^F  FF^MT 


2.     Moderate. 


Setni-cad.     \/     *3) 


"p        1 12 — V  Consequent. 


HAYDN. 


MENDELSSOHN,  No.  27. 


sequent.  '^,  — J 

*i)  The  Semicadence  rests  upon  the  I  of  the  Dominant  key  (with  major 
3rd,  i.  e.,  the  "  modulatory  Stride").  The  Consequent  Phrase-melody  is  (in- 
tentionally) the  literal  contrary  direction  of  the  Antecedent  melody,  from 
beginning  to  end. 


Par.  39c. 


THE    CONTRASTING    CONSTRUCTION. 


*2)  This  is  by  far  the  best  and  most  common  of  all  the  forms  of  the  Semi- 
cadence,  viz.  :  the  V,  preceded  by  the  accented  I  in  |  inversion.  The  latter 
(the  I2)  precedes  the  actual  Cadence-chord  (V)  as  embellishment  ("  appog- 
giatura"),  and  fulfils  chiefly  the  important  purpose  of  "  bridging  over  "  the 
cadence-space  (Ex.  46,  note  *i)  ). 

*3>  The  opposite  direction  of  the  Antecedent  melody  is  maintained 
through  about  one-half  of  the  Consequent  Phrase,  only  excepting  the  prelim- 
inary tones. 

*4)  Here  the  general  drift  of  the  Antecedent  (more  especially  of  the  ac- 
companying harmonies)  is  reversed  in  the  Consequent.  This  is  also  the  case 
in  MENDELSSOHN,  No.  45,  first  eight  measures.  See  also  Ex.  54. 

See  also  :  HUMMEL,  Pfte.  Sonata,  op.  13,  Adagio,  first  eight  measures  ;  and 
Finale,  first  eight  measures. 

(c)  THE  CONTRASTING  CONSTRUCTION. 

This  variety  of  the  Period-form  is  characterized  by  the  absence 
of  such  parallel  traits  (in  the  same,  or  in  the  opposite,  direction)  as 
those  explained  above.  The  principle  of  "contrast"  prevails, 
though  not  necessarily  to  the  utter  exclusion  of  parallel  figures. 

As  has  already  been  intimated,  these  three  distinctions  are  to  be  accepted 
and  applied  more  in  a  general  sense,  than  in  strict  detail.  The  Consequent 
Phrase  of  a  Period  may  reveal  traces  of  all  three  varieties  of  construction, 
without  belonging  distinctly  to  either  class;  and  probably  the  majority  of 
Periods  will  be  defined  as  "contrasting"  construction,  merely  because  suffi- 
cient evidence  of  parallel  or  opposite  construction  is  wanting. 

The  "contrast"  is  generally  limited  to  the  melody  (i.  e.,the 
THEMATIC  element),  and  is  rarely  extended  to  the  style,  rhythm 
and  general  character  (i.  e.,  the  FORMATIVE  elements). 

Hence  the  rule,  for  comparatively  small  forms,  that  while 
thematic  contrast  is  permissible  and  necessary  to  a  certain  degree, 
formative  relation  must  be  preserved.  For  illustration  : 


T.     Moderate, 


^Ante 


cedent. 


SCHUBERT. 


7o 


VARIETY    AND    UNITY. 


Par.  40. 


2.     Vivace. 


Antecedent. 


IV 


* '-a u fe- 

ft         t 

I  I.        I.  i. 


Consequent. 


HAYDN. 


3.     Andantino. 


H  --- 


i 


T 


segue 


Coiise- 


CHOPIN.  Op.  38. 


-  quent. 

*i  The  Semicadence  rests  upon  the  Dominant  of  the  relative  key,  and 
obtains  its  cadential  effect  through  the  purely  artificial  pause  (^),  which 
marks  the  otherwise  vague  point  of  rest.  There  is  not  a  single  point  of 
melodic  resemblance  between  the  two  Phrases.  And  the  Consequent  begins 
(unlike  the  Antecedent  )upon  a  preliminary  beat. 

*2)  Semicadence  rests  upon  the  Tonic  triad,  but  with  its  Fifth  in  Soprano. 
The  contrast  between  the  two  Phrases  is  here  unusually  marked. 

*3)  Tonic  Semicadence,  with  Third  in  Soprano.  The  contrast  is  distinct, 
though  traces  of  parallelism  exist. 

See  also  Ex.  44,  No.  2  (probably  a  4-measure  Period)  ;  Ex.  52 :  Ex.  53, 
meas.  1-8;  Ex.  60,  meas.  1-8;  Ex.  61,  meas.  1-8;  Ex.  71,  each  Part;  Ex.  89, 
meas.  1-8.  MENDELSSOHN,  "Songs  without  Words",  No.  9,  meas.  3  (2d 
half  )~7 ;  No.  48,  meas.  1-4.  BEETHOVEN,  Symphony  IV,  Adagio,  meas.  2-9. 

VARIETY  AND  UNITY. 

4O.  Among  the  most  vital  and  ever  urgent  conditions  and 
demands  of  perfect  artistic  creation  are  those  of  Variety  and 
Unity, —  variety  in  unity,  and  unity  in  variety.  Though  the  con- 
dition of  unity  appeals  first  in  order  to  our  consciousness,  that  of 
variety  is  of  at  least  equal  (ultimately  of  even  greater)  importance  ; 


Par.  40.  VARIETY    AND    UNITY.  Jl 

and  each  asserts  its  claims  with  equal  emphasis.  These  two 
opposing  forces  are  therefore  incessantly  at  work  in  every  creative 
process,  and  the  skill  of  the  master  is  displayed  in  so  directing 
them  that  the  most  just  balance  is  preserved  between  them. 

The  condition  of  UNITY  dictates  all  the  methods  by  which 
fundamental  regularity,  concentration,  agreement  and  corrobora- 
tion  are  obtained  ;  these  methods  are  : 

The  metrical  arrangement  of  equal  beats  in  equal  measures 
and  sums  of  measures  ; 

The  adherence  to  a  central  tonality ; 

The  usual  agreement  of  component  members  (Exs.  17  and  18; 
par.  38,  39«  and  b]  ; 

All  repetitions,  sequences  and  imitations  (par.  19). 

The  condition  of  VARIETY  dictates  all  the  methods  by  which 
this  fundamental  regularity  is  divested  of  its  monotony  and 
fatiguing  effect,  and  by  which  a  judicious  degree  of  grace  and 
contrast  may  be  gained  ;  these  methods  are  : 

The  modification  of  the  rhythmic  measure  by  use  of  longer 
and  shorter  tones ; 

The  modulatory  movements  around  the  tonal  center; 

The  alterations  of  register  (par.  19^), —  of  style  (19^), —  of 
dynamic  effect,  within  the  same  regular  harmonic  limits ; 

The  sequence  itself  (as  distinguished  from  exact  repetition) ; 

All  unessential  modifications  (Ex.  19;  Exs.  26-30),  which 
sustain  interest  without  jeopardizing  the  condition  of  unity,  by  too 
effectually  disguising  the  necessary  thematic  and  formative  agree- 
ment. 

The  impossibility  of  formulating  accurate  rules  for  obtaining  this  "  Variety 
in  Unity"  is  clearly  manifest.  It  is  simply  to  be  borne  in  mind  by  the 
student,  and  will  thus  exert  a  moulding  influence  upon  his  musical  views  and 
habits. 

EXERCISE   9. 

Invent  a  number  of  Periods,  of  diversified  character  and  design,  chiefly 
8  measures  in  length.  Alternate  regularly  between  the  major  and  the  minor 
modes  ;  employ  the  different  varieties  of  duple  and  triple  time,  and  the  differ- 
ent grades  of  tempo  (from  Adagio  to  Presto).  Exemplify  the  various  forms 
of  construction  (parallel,  opposite,  contrasting). 

Work  toward  the  Cadence  during  each  Phrase,  and  from  Cadence  to 
Cadence.  Make  both  Semicadence  and  perfect  Cadence  sufficiently  distinct; 
avoid,  as  beginner,  vague  forms  of  all  cadences;  all  concealing  or  bridging- 


THE   REPETITION  OF  THE  ENTIRE   PERIOD-FORM. 


Par.  41. 


over  of  the  Semicadence  must  he  effected  with  «trict  consideration  of  a  per- 
fectly definite  cadential  impression. 

Endeavor  to  preserve  distinct  melodic  character;  let  there  be  a  strong, 
prominent  and  continuous  melodic  line  in  some  part  or  other  (chiefly  in 
Soprano)  always. 

In  other  words,  the  "tune"  ("air",  "cantilena")  should  always  be 
conspicuously  the  dominating  purpose,  no  matter  what  the  style  or  tempo  is. 

Next  in  importance  to  this  is  the  leading  of  the  Bass  part,  which  should 
be  as  smooth  and  melodious  as  possible,  and  should  be  sketched  against  the 
Melody  alone  before  the  inner  parts  are  added.  See  also  the  N.  B.  on  page  52. 


CHAPTER   VI. 

THE    DEVELOPMENT  OR    EXTENSION    OF   THE 
PERIOD-FORM. 

4  1  .  The  modes  of  extension  explained  in  Chapter  III  are 
applied  to  the  Period  in  the  same  general  manner  as  to  the  Phrase, 
though  on  a  correspondingly  broader  scale. 

As  usual,  the  principal  factor  is  that  of  repetition,  which  may 
be  applied  to  the  entire  Period  bodily,  or  to  either  or  both  of  its 
Phrases  separately. 

I.     THE    REPETITION    OF    THE    ENTIRE    PERIOD-FORM. 

The  Period  may  be  repeated  literally,  without  any  other 
changes  than  those  involved  by  concealing  or  bridging-over  the 
perfect  Cadence,  before  repetition.  See  pars.  18  and  21. 

But  here  again  it  is  far  more  usual  and  desirable  to  introduce 
unessential  modifications,  during  the  repetition,  corresponding  to 
the  modes  of  manipulation  described  in  paragraph  19^,  b,  c,  d,  e — 
which  review.  For  illustration  : 


Alegro. 


49. 


Par.  42.      THE  REPETITION  OF  THE  CONSEQUENT  PHRASE.         73 

||  Repetition. 


*i)  Neither  Semicadence  nor  perfect  Cadence  requires  any  bridging- 
over,  in  this  instance,  because  the  "  space  "  is  reduced  by  the  beginning  of 
each  Phrase  three  beats  in  advance  of  the  primary  accent. 

*2)  The  modifications  during  the  repetition  consist  in  shifting  the  melody 
down  an  octave,  and  altering  the  style  of  the  accompaniment;  (also  in  the 
dynamic  change  from//  to/;  and  a  change  in  orchestration — see  later). 

See  also:  MENDELSSOHN,  "  Songs  without  "\Vords  ",  No.  9,  meas.  3  (2nd 
half)-n;  No.  27,  meas.  5-20;  No.  29,  meas.  4  (2nd  half)-2i, — one  measure  of 
interlude  between  Period  and  its  repetition,  as  in  Ex.  31. 

BEETHOVEX,  Symphony  IV,  Adagio,  meas.  2-17;  Pfte.  Sonata,  op.  13, 
Adagio,  meas.  1-16.  Pfte.  Sonata,  op.  28,  Scherzo,  first  thirty-two  measures 
(large  i6-measure  Period,  repeated). 

CHOPIN,  Prel.  op.  28,  No.  19,  meas.  23-7  from  the  end.  Prel.  op.  28,  No. 
21,  meas.  17-32. 

SCHUBERT,  Impromptu,  op.  90,  No.  2,  first  twenty-four  measures  (two 
repetitions). 

2.    THE    REPETITION    OF    THE    CoNSEOJJENT    PHRASE. 

42.  In  case  either  of  the  two  Phrases  of  the  Period-form  is 
to  be  repeated  alone,  it  is  much  more  likely  to  be  the  Consequent 
than  the  Antecedent.  This  corresponds  to  the  repetition  of  the 
second  half  of  a  Phrase,  defined  in  paragraph  250;. 

The  repetition  may  be,  as  usual,  exact  or  modified, —  generally 
the  latter  (par.  19).  ~l 

The  treatment  of  the  perfect  Cadence,  before  the  repetition 
of  the  Consequent,  must  conform  precisely  to  the  conditions, 


74 


TIIK    REPETITION   OF  TIIK   COXSHQJLTKXT   PHRASE. 


Par.  42. 


explained  in  18  and  21,  which  review;  i.  e.,  t lie  Cadence  may  be 
bridged  over,  but  must  not  be  completely  evaded,  by  any  essential 
change  of  harmony.  For  illustration  : 


SO. 


Adag:o  niolto. 


Consequent. 

I 


*i)  The  perfect  Cadence,  due  at  this  accent,  is  concealed  by  passing  on 
chromatically  in  Soprano  into  the  chord-Third;  and  the  space  is  bridged  over 
by  continuing  the  chromatic  succession  directly  into  the  first  tone  of  the 
(repeated)  Consequent. 

*2)  Compare  this  measure  with  measure  7,  and  observe  how  the  very  same 
melodic  figure  is  here  manipulated,  in  order  to  obtain  an  earlier  and  stronger 
cadence-impression. 

See  also:  MENDELSSOHN,  "  Songs  without  Words",  No.  14,  meas.  17-28 
from  first  double-bar;  No.  19,  meas.  24  (2nd  half)~3o. 

BEETHOVEN,  Pfte.  Sonata,  op.  2,  No.  3,  first  twelve  (13)  measures  (slightly 
•expanded  cadence). 

CHOPIN,  Prel.  op.  28,  No.  20,  entire. 


Par.  43. 


THE  REPETITION  OF  THE  ANTECEDENT  PHRASE. 


75 


3.  THE  REPETITION  OF  THE  ANTECEDENT  PHRASE,  OR  OF 
BOTH  ANTECEDENT  AND  CONSEQUENT. 

43.  As  already  stated,  the  repeated  Antecedent  is  of  far  more 
rare  occurrence  than  the  repeated  Consequent.  It  is  most  likely  to 
appear  in  connection  with  the  latter,  i.  e.,  each  Phrase  separately 
repeated. 

The  treatment  of  the  Cadences  must  conform,  here  again,  to 
the  rules  given  in  paragraph  21.  For  example  : 


i .     Moderate. 


Repetition  of 


"^        -I 

n 

•^  v 

^—  —  —  — 

j 

V    L  1                            Fa! 

0  —  H  — 

1—  ^     1 

i 

1 

fa»$^  —      —  *  —  1    —  i  — 

— 

-Z5*  ' 

»-* 

-J—  —  —  j  —  J^  — 

=33 

1 

VJJ   4-    'x        •    tr       F 

a 

p 

m                                      t_*j£ 

-2 

\ 

.1.  < 

/ 

*.     =-    J: 

-* 

. 

r 

2 

•»-                                   -f 

r 

( 

c\f-3  —           

m 

—  T—  tH 

\ 

-^—  p-4-  —  &--  —   -  -i2  

—t 

r    * 

j 

—  '  —  i  — 

1                | 
r  v 

Antecedent. 

-'  —  r- 

Consequent. 

-6— 

—  '  —  1  —  "n  —  '  

r 

^  — 

V 

1  1  —  i  

J       !   j 

Z3 

•- 

j-- 

j^_L 

•^ 

—4—          {-* 

*  —  *— 

'    ^    •     .  "  _^ 

*    j 

EUT-x 

3                    * 

Hz; 

r                         (^ 

c       J 

J 

1                          1 

^ 

; 

*    r 

"                    J 

t~\* 

/^                                                  * 

I 

2§ 

—  *       —  r 

•— 

<v 

-s  — 

-»  —  F  —  r 

Repetition  of  Consequent. 


MOZART. 


76  THE   REPETITION  OF  THE  ANTECEDENT  PHRASE.  Par.  43. 

a.    Presto. 


Accompaniment  simile I 

Consequent. 


JLJ     .  i  ^==^-r-^      *    r-JV 


*4)     I 


rrr  IT*=*IE 

*-4 


*5)  Repetition  of  Consequent. 


^— rr  -ss*1!-^-^    ^r 


MKNDELSSOHN.  No.  21. 


*i)  The  Semicadence,  here,  corresponds  exactly  to  the  first  one,  four 
measures  back. 

*2)  The  perfect  Cadence  is  slightly  modified  (concealed)  by  placing  the 
chord-third  in  Soprano.  Otherwise  it  agrees  with  its  repetition,  four  measures 
later. 

*3)  The  Melody  is  considerably  changed,  during  this  repetition,  though 
not  essentially  so.  It  belongs  partly,  for  that  reason,  to  the  "  Group  "-forms, 
explained  in  paragraphs  54-55. 

*4)  The  Antecedent  and  its  repetition  close  with  precisely  the  same  Semi- 
cadence  (on  the  Tonic  chord).  It  will  be  observed  that  this  example  begins 
with  a  Dominant  chord ;  that  is  because  it  occurs  in  the  course  of  a  larger 
form.  The  same  is  true  of  the  preceding  illustration. 


Par.  44.      EXTENSIONS  AT  THE   BEGINNING  OF  EITHER  PHRASE.  77 

*5)  The  Consequent  Phrase  contains  eight  measures  (twice  the  length  of 
its  Antecedent),  owing  to  chain-phrase  extension  (par.  31). 

*6)6)  The  harmonic  alterations  during  the  repetition  (a  persistent  inclina- 
tion into  the  Subdominant  keys)  are  noteworthy.  See  the  original  ("  Songs 
without  Words",  No.  21,  thirty-eight  measures  from  the  end). 

MOZART,  Pfte.  Sonata,  No.  u  (Cotta  ed.),  first  movement,  meas.  29-8  from 
the  end.  BEETHOVEN,  String-quartet,  op.  18,  No.  3,  "  Minore  "  of  third  move- 
ment, first  twelve  measures. 

EXERCISE  10. 

Former  Periods,  or  new  ones,  with  complete  repetition  (according  to  par. 
41).  The  repetitions  must  be  variated  by  means  of  unessential  modifications, 
care  being  taken,  however,  to  preserve  the  original  harmonic  form  of  the 
Cadences. 

EXERCISE  11. 

The  same,  with  repetition  of  the  Consequent  Phrase  (par.  42). 
The  same,  with  repetition  of  the  Antecedent  Phrase,  or  both  Antecedent 
and  Consequent  Phrases  (par.  43). 

The  repetitions  must,  here  again,  be  unessentially  modified. 


4.  THE  EXTENSIONS  AT  THE  BEGINNING  OF  EITHER  PHRASE, 
OR  OF  BOTH  PHRASES. 

44.  An  extension  at  the  beginning  is,  naturally,  more  likely 
to  be  applied  to  the  Antecedent  Phrase  than  to  the  Consequent. 

As  usual,  it  will  assume  the  character  of  an  Introduction,  as 
explained  in  paragraph  28,  which  review.  But  in  serving,  as  it 
may,  as  an  introduction  to  the  entire  Period,  it  can  be  somewhat 
longer,  and,  at  the  same  time,  a  trifle  more  individual  in  character 
than  the  introduction  to  a  single  Phrase. 

This  is  the  case,  to  a  moderate  degree,  with  the  passage  at  the  beginning 
of  MENDELSSOHN'S  "  Songs  without  Words",  No.  29,  and  No.  46;  and,  more 
strikingly,  in  No.  12,  No.  15,  and  No.  32.  In  each  of  the  last  three  of  these 
examples,  the  preliminary  passage  might  be  called  an  "  Introductory  Phrase"  ; 
for,  on  account  of  its  length  and  importance,  it  appears  to  fulfil  a  more  inde- 
pendent mission  than  that  of  an  extension  at  the  beginning  of  the  first  Period 
only,  and  refers,  properly,  to  the  whole  piece.  But  the  style  is,  nevertheless,  kept 
so  subordinate  that  no  doubts  can  arise  as  to  the  actual  beginning  of  the  Period- 
melody;  and,  moreover,  it  is  inseparably  connected  with  its  Period  by  ending 
upon  the  Dominant  harmony. 

See  also:  CHOPIN,  Mazurkas  Nos.  9,  34,  13,  15,  17,  20,  21;  more  pro- 
nounced, Nos.  7,  31,  2. 


78 


EXTENSIONS   AT  THE   BEGINNING  OF  EITHER   PHRASE.      Par.  46. 


45.  When   such   an    introductory  passage  is  conducted  into  a 
complete  Tonic  Cadence,  and   thus  separated  from  the  following 
Period,  it  ceases  to  be  an  "  Introduction  ",  in  the  strict  sense  of  the 
term,  and  becomes  a 

"  Prelude". 

The  moment  this  distinction  arises, —  in  consequence  of  the  separat- 
ing effect  of  the  perfect  Cadence, —  the  necessity  of  preserving  close 
thematic  and  organic  relation  with  the  following  Period  is  can- 
celled, and  complete  independence  of  character  (in  everything 
excepting  tonality,  meter  and  tempo)  may  be  imparted  to  the 
Prelude. 

Comparatively  close  organic  relation  with  the  following  Period  exists  in 
the  Preludes  to  "  Songs  without  Words"  No.  19  (comp.  Song  No.  i);  No.  6 
(first  seven  measures);  No.  21  (first  eight  measures);  and  even  in  Nos.  3,  28 
and  41,  though  these  are  severed  from  the  first  Period  by  a  double-bar.  See 
also:  CHOPIN,  Mazurkas  Nos.  3,  42,  46. 

Entire  independence  is  illustrated  in  the  Preludes  to  "  Songs  without 
Words  "  No.  4,  No.  35,  No.  16  and  No.  9.  The  opening  (4)  measures  of  No. 
27  defy  exact  classification;  in  the  independence  of  their  character  they  sug- 
gest the  Prelude-class,  but  they  lead,  like  an  Introduction,  directly  and 
smoothly  into  the  first  Period,  from  which  only  a  Dominant  Semicadence 
separates  them. 

46.  It   is   of  course   possible   to   interline  a  brief  "  introduc- 
tion"  to   the  Consequent   Phrase   also,  but   examples   of  this  kind 
are  -very  rare,  because  of  the  attendant  danger  of  destroying  the 
necessary  continuity  between  the  two  Phrases.      Such  an   introduc- 
tion to  the  Consequent  will  sound  most  plausible  when  correspond- 
ing in  thematic  character  and  style  to  an  introduction  to  its  Ante- 
cedent Phrase  ;  and  it  must  be  so  skilfully  handled  as  not  to  interfere 
with   the  impression  intended  to  be  conveyed   by  the  original  (un- 
extended)  Period.     For  example  : 


Vivace,  nan  troppo. 


VOICE.    *1) 


S2. 


l^ry^g^-J^F-^^E:  ^^Q=  HtSE 

^ 


Iiitrod.  • 


Antecedent  Phrase. 


Par.  47.         THE  EXTENSIONS  AT  THE  END  OF  EITHER   PHRASE.  79 

^    V 


ID trod. 


SCHUBERT. 


V        I 


*i)  The  vocal  melody  of  this  example  ("  Winterreise  ",  No.  2)  fixes  the 
design  of  the  "  Period",  beyond  the  possibility  of  misconception. 

5.   THE  EXTENSIONS  AT  THE  END  OF  EITHER  PHRASE,   OR 
OF  BOTH  PHRASES. 

4T.  The  extensions  at  the  end  are  much  more  likely  to  be 
applied  to  the  Cadence  of  the  Consequent  Phrase  than  to  that  of 
the  Antecedent.  They  conform  exactly  to  those  explained  in  para- 
graphs 25,  26,  which  review.  One  peculiarly  instructive  illustra- 
tion will  suffice  : 


Minuetto. 


S3. 


2EE 


--V 


-+-*- 


segne 


8o 


THE  EXTENSIONS  AT  THE  END  OF  EITHER  PHRASE.         Par.  47 


Consequent. 


-j-iTr     fL^-  z~f--r 


=*=-*^£^^4&=± 


-,»  ^ g >^ 

K  S  S 


tf=M?=tr 

I.j  expanded  (Ex.41.) 


HAVDN. 


v=* 


^-0 — ^ 


*i)  Correct  perfect  Cadence,  omitted  (or,  more  properly,  suppressed)  on 
account  of  the  extension  to  follow. 

*2)  "  Intercepted  "  form  of  the  perfect  Cadence  (comp.  Ex.  32,  note  *4)). 
It  is  expanded  to  two  measures. 

*3)  This,  and  the  seven  measures  which  follow,  constitute  a  "new  Cadence- 
member  "  (see  par.  2ox/;  Ex.  42). 

See  also:  MENDELSSOHN,  "Songs  without  Words",  No.  23,  meas.  1-9 
from  the  first  double-bar;  compare  carefully  with  meas.  25-10  from  the  end. 
Also  No.  27,  meas.  16-4  from  the  end  (cited  in  Ex.  32-2);  No.  31,  meas.  i-n 
(4-measure  Period,  repeated,  and  extended  at  its  end);  No.  38,  meas.  i-io. 

CHOPIN,  Pfte.  Concerto,  e  minor  (op.  n),  Romance,  meas.  13-22  (quaint 
repetition  of  2nd  half  of  Consequent  Phrase). 


Par.  48.    THE  EXTENSIONS  AT  THE  END  OF  EITHER  PHRASE. 


48.  An  extension  at  the  end  of  the  Antecedent  Phrase  will 
be,  as  intimated,  a  comparatively  rare  occurrence,  owing  to  the 
danger  it  involves  of  severing  the  continuity  of  the  two  Phrases. 

It  can  scarcely  be  any  more  than  a  brief  repetition,  or  expan- 
sion, of  the  chords  which  constitute  the  Semicadence  (which  it 
must  confirm,  and  not  destroy),  or  of  the  entire  semicadence-mem- 
ber ;  and  it  will  generally  be  balanced  by  a  similar  manipulation  of 
the  final  cadence  (of  the  Consequent)  also.  For  example  : 


Allegretto 


Cad. 


54. 


1L'    i    f-    i^i    i  -*•  •«• 


k*~9-&*»   w    » 

P-fr^-g g 


i  i  j  i  n  i 

hz^tacn*— fct 


BKAHMS. 


*i)  Or,  more  accurately  (in  both  cases),  an  "expansion"  of  the  Cadence- 
tone  in  the  melody. 

*2)  This  Cadence  is  incomplete,  because  the  new  section  which  follows  is 
to  be  entered  without  interruption.  (See  the  Note  following  par.  930.)  This 
example,  from  the  third  movement  of  the  first  Symphony  of  BRAHMS,  is  a 
unique  illustration  of  "opposite  construction"  (39^). 


82 


EXTENSIONS    IN    THE    COURSE. 


Par.  49. 


See  also:  BRAHMS,  op.  117,  No.  3,  meas.  i-io,  11-20;  same  work,  second 
tempo  (piu  mofo  cd  espress.},  meas.  i— 10,  11—20,  21-30.  These  Periods  are  all 
of  parallel  construction,  and  all  extended  in  the  same  way, —  at  the  Cadences. 
Also  op.  118,  No.  i,  meas.  i-io. 

See  also:  MENDELSSOHN,  "  Songs  without  Words  "  No.  37,  meas.  30-39 
(extension  at  end  of  Antecedent  only}. 

SCHUBERT,  "  Winterreise  ",  No.  14,  last  fifteen  measures  (extension  at 
end  of  each  Phrase);  "Winterreise",  No.  19,  meas.  6-13  (two  3-measure 
Phrases;  followed  by  modified  repetition,  meas.  14-21);  "Winterreise",  No. 
22,  meas.  5-18  (5-measure  Phrases),  and  meas.  16-5  from  the  end. 

CHOPIN,  Mazurka  No.  20,  meas.  9-24  (repeated  Consequent). 

6.  EXTENSIONS  IN  THE  COURSE. 

49-  This  mode  of  enlargement  is  applied  most  frequently, 
and,  at  all  events,  most  extensively,  to  the  Consequent  Phrase  (see 
par.  30).  The  details  are  enumerated  in  paragraph  29,  which  re- 
view. For  illustration  : 

tir 


Adagio. 


55. 


Par.  50. 


EXTENSIONS    IN    THE    COURSE. 


*i)  The  Semicadence  is  not  bridged  over,  in  this  case,  for  the  obvious  pur- 
pose of  rendering  the  following  extension  perfectly  distinct. 

*2)   Modified  repetition  of  second  half  of  the  Antecedent  Phrase. 

*3)  A  somewhat  disguised  sequence  of  the  first  half  of  the  Consequent 
Phrase. 

See  also:  MENDELSSOHN,  "Songs  without  Words",  No.  n,  meas.  22*^-9 
from  the  end ;  a  4-measure  Antecedent,  and  a  Consequent  containing  course- 
extensions  (in  its  first  and  third  measures) ;  the  perfect  Cadence  is  twice  evaded 
(in  measures  six  and  eight  of  Consequent  Phrase),  and,  finally,  a  "new  cadence- 
member  "  of  tvo  measures  closes  the  Period. 


5O.  Such  extensions  in  the  course  of  either  Phrase  are  not 
unlikely,  here  again,  to  result  in  "chain-phrase"  formation,  as 
explained  in  paragraph  31.  As  usual,  this  is  far  most  likely  to  be 
the  case  with  the  Consequent  Phrase. 

See  MENDELSSOHN,  "Songs  without  Words",  No.  10,  meas.  11-24  (a 
4-measure  Antecedent) ;  and  No.  38,  meas.  22^-41  (ending  with  an  imperfect 
Cadence,  before  final  Phrase  of  the  Song). 

CHOPIN,  Prelude,  op.  28,  No.  i,  meas.  1-25. 

But  this  may  even  occur  in  the  Antecedent,  as  the  following 
(rare)  example  shows  : 


56.  \ 


84 


THE    CODETTA. 


Par.  51. 


f          •"/    p  f 


*=^ 


Consequent. 


BEETHOVEN.    »2) 


•==pgi-;=^=  i 


r    r- 


-<2- 


PI 


*i)  The  Antecedent,  ending  with  this  emphatic  semicadence,  is  thirteen 
measures  long.  Its  thematic  evolution  is  indicated  by  the  lettered  brackets. 
The  Consequent  which  follows  is  an  example  of  the  5-measure  Phrase. 

*2)  Pfte.  Sonata,  op.  49,  No.  i,  finale,  meas.  29^-12  from  the  end. 


7.  THE  CODETTA. 

5  1  .  To  the  class  of  extensions  at  the  end  belongs,  further- 
more, the  CODETTA  (i.  e.,  little  Coda)  ;  but  it  differs  from  the 
extensions  explained  in  paragraphs  24,  25,  26,  and  47,  in  being 
more  independent  of  the  Phrase  or  Period  to  -which  it  is  added. 
For  in  the  majority  of  cases  it  follows  after  the  complete  perfect 
Cadence  has  been  made,  and  becomes  by  that  means  detached  from 
its  Phrase  or  Period.  (It  is  most  nearly,  though  not  strictly, 
analogous  to  paragraphs  26^,  c,  d). 


Par.  51. 


THE    CODETTA. 


For  this  reason  it  need  not  be  thematically  related  to  the 
Melody  of  the  Cadence-member,  but  may  derive  its  Melody  from 
any  member  of  its  Phrase  or  Period;  or  it  may  even  consist  of  an 
entirely  new,  though  strictly  kindred  (organically  related),  melodic 
motive.  Review  also  paragraph  32. 

Its  harmonic  basis  may  be  a  reiteration,  in  almost  any  metric 
form,  of  the  Dominant  and  Tonic  chords  of  the  Cadence ; 

Or  it  may  be  an  optional  line  of  chords,  upon  the  Tonic  organ- 
point  ; 

Or  it  may  incline  towards  the  Subdominant  chords  and  keys, 
as  broader  exposition  of  the  Plagal  ending  (26d).  The  latter  is 
probably  the  most  common. 

The  length  of  the  Codetta,  as  applied  to  any  of  the  foregoing 
forms,  while  optional,  should  not  as  a  rule  exceed  two  measures; 
but  it  may  be,  and  usually  is,  repeated,  and  even  extended. 

It  is  very  rarely  added  to  anything  smaller  than  the  Period- 
Jortii. 

For  illustration,  to  the  Period  given  in  Example  50,  the  fol- 
lowing Codetta  is  added  : 


Cad. 


Codetta. 


Rep.          BEETHOVEN. 


57.  < 


*i)  This  is  the  Cadence-measure,  bridged  over  as  shown  in  paragraph  18. 

*2)  The  following  two  measures  cannot  be  called  an  "extension  of  the 
foregoing  Phrase,  or  Cadence-member",  for  they  are  melodically  independent 
of  the  latter.  Hence  the  independent  term  Codetta  (appendix),  to  indicate 
the  independent  addition. 

*3)  In  the  original,  (BEETHOVEN,  Pfte.  Sonata,  op.  10,  No.  i,  end  of 
Adagio?)  six  more  measures  follow,  as  additional  repetition  and  extension  of 
this  Codetta ;  but  they  are  necessitated  simply  by  the  proportions  of  the  entire 
Movement,  and  are  therefore  omitted  here. 

Furthermore,  to  Ex.  41,  No.  3,  is  added  the  following  : 


86 


58. 


Cad. 


THE    CODETTA. 
Codetta. 


Par.  52. 


Rep. 


-&-' 


MRNDBLSSOHK. 


*i)  The  form  "  tapers "  to  the  end,  from  the  large  2-measure  Phrase 
which  precedes, — through  the  i-measure  Codetta,  its  repetition,  and  the 
half-measure  extension,  down  to  the  single  Tonic  chord,  which  fades  away  as 
its  resonance  diminishes,  without  regard  to  measure.  And  the  "  ritard.1' 
adds  emphasis  to  the  purpose  of  gradual  relaxation. 

See  also:  MENDELSSOHN,  "  Songs  without  Words",  No.  i,  last  six  meas- 
ures (Codetta  to  preceding  seven  measures,  with  which  it  is  to  be  compared); 
No.  13,  last  four  measures  (with  preceding  eight  measures);  No.  20,  last  five 
measures  (with  preceding  twelve  measures:  Phrase  repeated  and  extended); 
No.  27,  last  four  measures;  No.  40,  last  six  measures. 

CHOPIN,  Prelude,  op.  28,  No.  21,  last  fourteen  measures  (two  Codettas). 
And  Ex.  70,  note  *4). 

52.  The  Codetta  is  the  counterpart  of  the  Introduction  or 
Introductory  Phrase ;  and,  just  as  the  latter  may  deteriorate,  by 
separation  from  its  Period,  into  a  "  Prelude  ",  so  the  Codetta  may 
become  a 

"  Postlude" 

by  still  more  complete  separation  from  the  sentence  which  pre- 
cedes it,  and  by  greater  difference  of  style.  Compare  paragraph  45. 
The  Postlude  is  more  common  in  larger  forms,  than  in  the 
Period.  It  is  most  likely  to  occur  when  the  form  began  with  a 
Prelude,  and  will,  in  that  case,  usually  correspond  exactly  to  the 
latter. 

See  MENDELSSOHN,  "  Songs  without  Words",  Nos.  4,  9,  16,  23,  28,  35, 
41,  beginning  and  ending  of  each. 


Par.  53.  THE    CODETTA.  87 

53.  From  all  the  foregoing  it  is  evident  that  the  processes  of 
Phrase-  or  Period-extension  are  employed  preponderantly  in  the 
second  half,  i.  e.,  in  the  later  course,  towards,  or  at,  the  end  of  the 
sentence. 

The  first  obligation  of  the  composer  is  to  state  the  leading 
musical  thought  clearly,  simply,  without  confusing  modifications. 
The  variation,  elaboration,  and,  most  especially,  the  development 
and  enlargement  of  this  leading  thought  will  follow,  earlier  or 
later,  in  fulfilment  of  the  conditions  of  variety  in  unity.  Review, 
briefly,  paragraphs  30,  42,  47. 

A  peculiarly  significant  reason  for  extensions  at  the  very  end  is 
touched  upon  in  paragraph  27,  and  Example  58,  note  *i). 


MISCELLANEOUS    EXAMPLES    OF    PERIOD-EXTENSION. 

CHOPIN.  Prelude,  op.  28,  No.  i  (Antecedent  Phrase,  eight  measures; 
Consequent  Phrase,  chain-form,  sixteen  measures ;  Codetta  I,  two  measures 
and  repeated;  Codetta  II,  one  measure,  repeated  three  times;  expanded  Tonic 
at  end). 

SCHUBERT.  "Die  schone  Miillerin  ",  No.  8,  entire  (^-measure  Prelude; 
two  6-measure  Phrases,  Consequent  extended  ;  2-measure  Codetta). 

BEETHOVEN.     Pfte.  Sonata,  op.  10,  No.  i,  Finale,  meas.  17-28. 

BEETHOVEN.  Pfte.  Sonata,  op.  81,  Finale,  meas.  37-52  (repetition  of  whole 
Period);  also  the  following  measures,  53-81,  up  to  the  double-bar  (repetition, 
extension,  and  Codetta). 

BEETHOVEN.  Pfte.  Sonata,  op.  31,  No.  3,  first  movement,  meas.  46-68 
{repetition  with  intermediate  Interlude;  Codetta). 

BRAHMS.     Op.  116,  No.  i  (Capriccio),  meas.  1-19  (repeated  and  extended). 

BRAHMS.  Op.  116,  No.  2  (Intermezzo),  meas.  1-18  (extended  and  re- 
peated, with  instructive  modifications;  see  also  the  last  t-wenty-one  measures). 

BRAHMS.     Op.  116,  No.  5,  First  Part  (extension  at  end). 

CHOPIN.     Mazurka  No.  3,  meas.  49-64  (quaint  repetition). 

CHOPIN.     Mazurka  No.  17,  meas.  1-20  (Introduction  and  repetition). 

CHOPIN.  Mazurka  No.  20,  meas.  1-24  (Introduction  and  extensions);  also 
meas.  41-56  (repetition). 


EXERCISE   12. 

Former  Periods,  or  new  ones,  with   Introduction  or  Introductory  Phrase 
(par.  44,  45,  46). 

The  same,  with  extensions  at  end  of  either  Phrase,  or  of  both  Phrases  (par. 

47,  48)- 

Here,  again,  it  will  be  wise   to  write  out  the  Period  first  in  its  primary 
{unextended)  form,  and  to  elaborate  it  during  its  repetition. 


88 


THE    PERIOD    WITH    CONSEQJJENT-GROUP. 


Par.  55. 


EXERCISE  13. 

The  same,  with  extensions  in  the  course  of  either  Phrase  or  both  Phrases 
(par.  49,  50). 

The  same,  with  Codetta  (par.  51,  52). 

These  extensions  may,  finally,  all  be  introduced  into  one  and  the  same 
elaborate  Period  (illustrating  the  entire  material  of  paragraphs  44,  47,  49,  51, 
in  one  example). 

Write  out  each  Period  first  in  its  unextended  form. 


CHAPTER   VII. 

GROUP-FORMATIONS. 

THE  PERIOD  WITH  CONSEOJJENT-GROUP. 

54.  The   term   "Consequent-group"   lias   been   adopted   by 
the  author  as  a  substitute  for   "  Consequent-repetition  ",  in  appli- 
cation to  those  forms  in  which  the  reproduction  of  the  Consequent 
phrase  is  modified  to  such  an  extent,  or  in  such  a  manner,  that  the 
epithet     "Repetition"     is    not    strictly    permissible.      It    is    to    all 
intents   and   purposes  a  reproduction   of  the  second   Phrase  of  the 
Period,    but    it    is   not   a  simple    (or    even    unessentially   modified) 
repetition.     The  term  indicates  that  the  two  phrases  thus  obtained 
constitute  a  double  version   of    such   unquestionably  uniform  con- 
tents as  to  be  virtually  one  and  the   same  Consequent   (a   "  Double- 
Consequent  "). 

55.  The  details  of  the  apparently  subtle  distinction  between 
such    a     "reproduction"     and    a    genuine     "repetition",     are    as 
follows  : 

ist,  any  essential  difference  in  the  harmonic  formation  of  the 
two  Cadences  (of  the  two  versions  of  the  Consequent  Phrase)  would 
antagonize  the  principle  of  "repetition",  as  defined  in  par.  21 
(which  carefully  review).  For  illustration  : 


Andante  espressivo, 


S9. 


Antecedent  Phrase. 
For  Accompaniment,  see  Original.) 


i 


Par.  55. 


THE  PERIOD  WITH  CONSEQUENT-GROUP. 


89 


1st  Torsion  of 


J. 


*1>  \j    2nd  version  of  Coiise- 

i  '       I       I. 


g=g=£g^=*: 


quent  Phrase. 


rrn 


H 


MENDELSSOHN.     No.  25. 


>r 


•»-* 


I2  expanded 


(Cad.  -expansion.) 


THE    PERIOD    WITH    CONSEQJJENT-GROUP. 


Par.  55. 


*i)  This  first  Cadence  of  the  Consequent  Phrase  is  made  upon  the  Relative 
Tonic,  (e  minor,  instead  of  G  major,)  and  thus  the  idea  of  "repetition"  is 
already  frustrated,  because  the  final  Cadence  is  to  be  made  upon  the  original 
Tonic,  G  major. 

*2)  The  similarity  between  the  two  versions  of  the  Consequent  Phrase  is 
so  great  that  it  appears  at  first  glance  to  be  simply  Phrase-repetition.  But 
closer  scrutiny  of  the  two  essentially  different  Cadences  reveals  the  necessity 
for  the  above  distinction.  It  is  not  a  repeated  Consequent,  but  a  "  Group  of 
Consequents."  The  importance  of  this  distinction,  as  defined  by  the  forma- 
tion of  two  successive  cadences,  is  also  shown  in  paragraph  39^,  where  it  is 
the  obligatory  condition  which  distinguishes  the  "  parallel  Period  "  from  the 
"repeated  Phrase",  or,  in  a  word,  the  "repetition"  from  the  "  reproduc- 
tion ".  See  also  Ex.  70,  note  *2). 

See  also:  MENDELSSOHN,  "  Songs  without  Words  ",  No.  14,  meas.  11-23 
from  the  end  (final  Cadence  modified  by  chord-Fifth  in  Bass,  on  account  of 
thematic  connection  with  following  Phrase). 

MOZART,  Pfte.  Sonata,  No.  8  (Cotta  ed.),  Andante,  meas.  28-43  (second 
version  of  Consequent  extended  at  end). 

Compare  these  examples  carefully  with  the  illustrations  given  in  Ex.  50; 
Ex.  51 ;  Ex.  62,  note  *2) ;  with  especial  reference  to  the  condition  of  the 
Cadences.  The  latter  are  examples  of  Consequent  and  Antecedent  repetition, 
because  the  cadences  are  essentially,  if  not  exactly,  the  same ;  and  are  not  to 
be  confounded  with  the  above  (Ex.  59),  which  is  a  Consequent-^-row/,  because 
of  the  essential  difference  of  cadences. 

2ndly,  a  reproduction  of  the  Consequent  Phrase  upon  other 
scale-steps,  as  sequence,  should  not  be  called  a  repetition,  even  if 
the  melodic  design  remain  exactly,  or  nearly,  the  same.  A 
"sequence"  is  a  "reproduction",  but  never  a  "repetition"  in 
the  strict  sense  here  necessarily  maintained.  For  example  : 

Prestissimo. 

J-*U J— -?-£- ?     J  uU     ?-£ 


eo. 


Antecedent  Pliraae. 
(For  Accompaniment,  see  Original)    *1) 


m 


1st  version  of  Consequent  Phrase. 


Semi  c:ul. 


M  J  J  4  j  J  •/  .  , 

~\?       «  -^r^—  0       iT  Hg-=? — *— F 


Par.  55.  THE    PERIOD    WITH    CONSEQJJENT-GROUP.  9! 

2nd  version  of  Consequent  Phrase. 


V 


BEETHOVEN. 


m 


*2> 


iS^dEi 


^^^?±* 

^JL^OL=L 


-^ 

-|*. 


*i)  Pfte.  Sonata,  op.  2,  No.  I,  Finale,  first  twelve  measures. 

*2)  The  third  of  these  three  Phrases  is  mainly  a  sequence  of  the  second 
one,  and  with  a  "reversed"  Cadence-member;  consequently,  the  form  is- 
"Period  with  Consequent-group". 

See  CHOPIN,  Prelude,  op.  28,  No.  24,  first  nineteen  measures  (Introduc- 
tion two  measures ;  Antecedent-Phrase  four  measures,  with  modified  repeti- 
tion; Consequent-Phrase  first  version,  five  measures;  second  version,  partial 
sequence,  four  measures). 

3rdly,  the  term  Consequent-group  should  be  substituted  for 
Consequent-repetition  in  those  cases  where  the  reproduction  em- 
braces more  elaborate  modifications  (of  what  is,  nevertheless,  unmis- 
takably the  same  Phrase-contents)  than  would  be  supposable  or 
permissible  in  an  ordinary  "repetition";  compare,  carefully,  all 
of  paragraph  19.  For  illustration  : 


Lento. 


THE    PERIOD    WITH    ANTECEDENT-GKOUP. 


Par.  56. 


|! 


2nd  version  of  Consequent. 
*i) 


*i)  There  can  be  no  doubt  of  the  identity  of  this  Phrase  as  second  version 
of  the  preceding  Consequent  Phrase,  although  it  diverges  from  the  latter  more 
and  more,  in  its  course,  and  ends  with  a  totally  different  Cadence. 

*2)  See  also  the  twelve  measures  which  follow,  in  the  Original  (CHOPIN, 
Mazurka  No.  n,  op.  17,  No.  2). 

And  MEXDELSSOHN,  "Songs  without  Words",  No.  i,  last  twenty-one 
measures  (Antecedent  Phrase  four  measures;  first  Consequent  four  measures; 
second  Consequent,  eight  measures;  Codetta,  five  measures). — No.  31,  meas. 
14^-5  from  the  end  (Antecedent,  two  measures ;  first  Consequent,  two 
measures;  second  Consequent,  partly  sequential,  largely  expanded,  six  meas- 
ures).— No.  33,  last  twenty-three-and-one-half  measures  (Antecedent,  four 
measures;  first  Consequent,  four  measures;  second  Consequent,  ten  measures, 
analyzed  in  Ex.  42,  No.  2;  Codetta,  five  measures). 

SCHUBERT,  "  Winterreise",  No.  15,  meas.  19-6  from  the  end. 

56.  By  exactly  the  same  processes,  the  Antecedent  Phrase  of 
a  Period  may  also  be  reproduced  in  this  group-form.  But  the 
"  Antecedent-group  "  is  far  less  common  than  the  Consequent- 
group.  See,  again,  paragraphs  53,  43.  One  illustration  will 
suffice  : 


A  llegretto. 

l«t  version  of  Antecedent. 


2nd 


62. 


Par.  57. 


THE    PERIOD    WITH    ANTECEDENT-GROUP. 


93 


Consequent. 


Repetition  of  Consequent. 


n 


V         I 
SUABIAN  FOLK-SONG. 


'&__?____  ~ 
-j^-rfl^-^-W 


^m 


f=: 


*i)  The  second  version  is  a  "  sequence"  of  the  first,  and,  consequently, 
not  a  "repetition  ".  It  is  an  Antecedent-^rflw/.  Compare  55,  2ncily. 

*2)  Here,  on  the  contrary,  a  genuine  repetition  of  the  Consequent  takes 
place,  because  (besides  entire  coincidence  of  melody)  the  Cadence  in  measure 
thirteen  is  only  a  concealed  form  of  that  in  the  final  measure,  without  essen- 
tial change. 

*3)  This  measure  is  a  quaint  and  characteristic  expansion  of  the  (strictly 
speaking,  unaccented}  first  beat, — a  poising  of  the  voice  upon  the  "up-beat" 
before  the  rhythmic  movement  starts  into  life.  This  accounts  for  the  irregu- 
lar (5-measure)  formation. 

See  also:  BEETHOVEN,  Pfte.  Sonata,  op.  2,  No.  i,  Menuetto,  first  fourteen 
measures  (first  Antecedent-Phrase,  four  measures ;  second  Antecedent, 
sequence,  four  measures  extended  to  six ;  Consequent,  only  two  measures,  but 
repeated). 

HAYDN,  Pfte.  Sonata,  No.  14  (Cotta  ed.),  first  twelve  measures. 

HAYDN,  Symphony  in  B[?  (Peters  ed.,  No.  12)  Finale,  first  twelve 
measures. 

CHOPIN,  Mazurka,  No.  36,  first  twelve  measures. 

CHOPIN,  Prelude,  op.  28,  No.  5,  first  sixteen  measures  (Introduction,  four 
measures;  first  Antecedent,  four  measures;  second  Antecedent,  sequence,  four 
measures;  Consequent,  four  measures) — ;  the  remaining  twenty-three  meas- 
ures of  the  same  Prelude  are  similarly  constructed  (the  last  seven  measures 
are  Codetta). 

BRAHMS,  op.  119,  No.  3,  last  thirty  measures  (first  Antecedent,  four  meas- 
ures; second  Antecedent,  four  measures;  Consequent,  a  long  Chain-Phrase  to 
end). 

THE  PHRASE-GROUP. 

5  "7.     The  Phrase-group   is  a  series  of  Phrases  (at  least  three 
in    number),  'in    coherent    succession,    and    of    similar    or    kindred 


94 


THE    PHRASE-GROUP. 


Par.  57. 


character  and  style ;  but  either  too  similar  to,  or  else  too  inde- 
pendent of,  each  other,  to  exhibit  the  distinctive  condition  of  the 
Period-form,  viz.,  the  opposition  of  a  mutually  dependent  thesis 
and  antithesis  (see  par.  37,  last  clause). 

The  Group  will  never  contain  less  than  three  Phrases,  because 
two  such,  if  coherent  (not  separated,  as  in  Ex.  74),  will  invariably 
represent  the  /'tfrzW-relation,  in  one  or  another  of  its  many  possi- 
ble phases.  On  the  other  hand,  the  Group  may  embrace  as  many 
more  than  three  Phrases  as  can  be  added  without  sacrificing 
coherency,  or  extending  to  an  absurd  extreme  of  "  formlessness  ". 

Each  of  the  Phrases  should  close  with  a  light  scmicadcnce  (com- 
pare pars.  36,  and  63*2).  A  perfect  Tonic  cadence  (in  any  key)  of 
sufficient  cadential  force  to  complete  its  Phrase,  can  occur  only  at 
the  end  of  the  Group.  There  are  some  rare  exceptions  to  this 
strict  rule,  but  they  do  not  concern  the  beginner.  (This  is  in 
accurate  keeping  with  the  rules  given  in  paragraph  31  for  the 
Chain-Phrase,  which  review.  The  "  Group  of  Phrases'1"1  is  simply 
a  larger  growth  of  that  "Group  of  Members"  which  constitutes 
the  Chain-Phrase). 

The  following  example  illustrates  the  Group  of  similar 
Phrases  : 


Par.  58. 


THE    PHRASE-GROUP.  95 

MENDELSSOHN.     No.  33. 


*3)      *4) 


fe 


*i)  The  similarity  between  these  three  Phrases  is  strikingly  exhibited  in 
the  first  half  of  each, — the  melodic  members  being  almost  identical. 

*2)  The  Bass  makes  this  irregular  leap  upward  from  the  Leading-tone  (a), 
simply  in  order  to  evade  the  complete  Tonic  cadence. 

*3)  This  final  Cadence  is  unusually  brief,  it  is  true;  but  it,  nevertheless, 
conforms  to  the  conditions  of  the  perfect  Cadence  fully  enough  to  check  the 
harmonic  and  melodic  current,  and  bring  the  "  Group  "  to  an  end.  (Par.  93«.) 

*4)  Comparison  of  this  example  with  the  foregoing,  reveals  the  charac- 
teristic difference  between  the  "Period  with  Consequent-  or  Antecedent- 
Group  ",  and  the  single  "  Phrase-Group  ".  Ex.  59,  for  instance,  also  consists  of 
three  Phrases  (like  the  above) ;  but  the  number  is  reducible  to  the  original  two 
of  the  Period-relation,  because  the  second  and  third  are  no  more,  in  sub- 
stance, than  one  (Consequent)  Phrase,  together.  In  Exs.  60  and  61  the  same 
reasoning  applies;  and  in  Ex.62  all  four  Phrases  are  similarly  reducible  to 
the  original  two.  But  in  the  above  example  (63),  on  the  contrary,  such  a 
reduction  to  two  Phrases  is  not  tenable,  because  the  entire  sentence  is  simply 
three  different  versions  of  one  primary  phrase. 


58.  The  Group  of  independent  (or  dissimilar)  Phrases,  on 
the  other  hand,  is  probably  more  common.  The  reduction  of  the 
series  to  two  primary  Phrases  will  not  be  possible,  on  account  of 
the  thematic  individuality  of  the  several  members  of  the  Group  ; 
but  at  least  general  resemblance,  and  close  organic  relation,  must 
be  preserved ;  and,  as  before,  no  complete  perfect  cadence  should 
occur  until  the  end  is  reached.  For  example  : 


64. 


it&H 

2  u       '       « 

!          az_3t__3 

for 

2-H-    *      7 

*           •        7        * 

9 

ir 

Phrase  No 
P 

•*- 

.  1. 
—  *  p-*«        . 

mf 
-r—rf.      .       i^—*    , 

Us 

y^a—  —  —  - 

f.  «_i  —  i  —  i  —  *^  — 

It  ~  \    '  f       t     ,'     _«J  1 
-b-—  i    '    •    '       1  —  i 

96 


THE     PHRASE-GROUP. 

Phrase  No.  2. 


Par.  58. 


Phrase  No.  3. 


0  -- 


MOZART 


3& 


*i)  It  is  evident  that  this  series,  again,  cannot  be  reduced  to  tivo  Phrases 
and  be  thus  demonstrated  as  an  extended  "  Period"  of  some  kind,  for  each  of 
the  three  Phrases  is  an  independent  melodic  factor  of  the  collective  sentence, 
though  perfect  organic  cohesion  is  maintained  (chiefly  through  the  uniform 
accompaniment) . 

See  also  the  following  general  illustrations  of  the  Phrase-group  (both  sim- 
ilar and  dissimilar) :  MENDELSSOHN,  "  Songs  without  Words  ",  No.  13,  last 
twenty-three  measures  (four  Phrases,  Nos.  i  and  2  similar — almost  repetition; 
No.  4  extended  four  measures  at  end;  Codetta). — No.  16,  meas.  4-9  (three 
2-measure  Phrases). — No.  20,  rneas.  28-17  from  the  end, — No.  26,  meas.  28^-11 


Par.  60.  THE    ELISION.  97 

from  the  end  (Phrase  i,  two  measures ;  Phrase  2,  two  measures ;  Phrase  3,  four 
measures;  Phrase  4,  two  measures;  Phrase  5,  two  measures;  Phrases  4  and  5 
repeated  and  extended). — No.  41,  meas.  15-5  from  the  end  (three  Phrases;  No. 
3,  three  measures). — No.  3,  meas.  5-29  (six  Phrases). 

CHOPIN,  Mazurka,  No.  33,  first  twenty-two  measures  (five  Phrases,  partly 
similar,  the  last  one  extended). 

CHOPIN,  Prelude,  op.  28,  No.  9  (three  similar  and  regular  4-measure 
Phrases).  Prelude,  op.  28,  No.  2  (three  Phrases,  similar,  each  expanded). 

SCHUBERT,  Pfte.  Sonata,  No.  4  (op.  122,  Menuetto,  first  twelve  measures. 
Pfte.  Sonata,  No.  8  (C  minor),  First  movement,  meas.  40-53  (three  similar 
Phrases,  of  unequal  length;  entire  Group  repeated,  in  the  following  fourteen 
measures). 

GRIEG,  Lyric  Pieces,  op.  12,  No.  I  (three  Phrases;  rep.,  abbrev.,  and  mod.). 

BRAHMS,  op.  118,  No.  6,  first  twenty  measures  (five  similar  Phrases,  No.  2 
a  repetition  of  No.  i) ;  the  folio-wing  tiventv  measures  are  a  modified  repeti- 
tion of  this  Group ;  the  following  eighteen  measures  are  a  Group  of  four 
Phrases  (i  and  2  regular,  3  extended,  4  a  sequence  of  3) ;  the  following 
measures,  up  to  the  end,  are  a  modified  reproduction  of  the  first  Group. 

To  what  length  the  Group  of  Phrases  may  possibly  extend,  may  be  seen 
by  reference  to  paragraph  104.  But  the  pupil  must  carefully  shun  such 
difficult  experiments  for  a  time.  And  he  must  look  upon  the  idea  of  the 
Group-form  with  distrust,  in  any  case,  as  being  the  type, — not  of  good  con- 
sistent "Form1', — but  rather  of  "Formlessness". 

59.  This  same  idea  is  also  applied  (though  far  more  rarely)  to  the 
Period,  of  which  similar  Groups  may  be  formed,  especially  when  the  Periods 
are  small  (four  measures).  Such  Period-groups  will  present  the  appearance, 
usually,  of  large  Phrases  with  a  slight  semicadence  in  their  center;  and  it  is 
possible  that  this  break  may  be  present  in  some  and  absent  in  other  of  the 
Members. 

See  SCHUBERT,  Pfte.  Sonata,  No.  7  (op.  164),  Finale,  first  thirty  measures 
(each  Period  expanded;  the  second  one  extended  at  end). 

MENDELSSOHN,  "  Songs  without  Words  ",  No.  32,  meas.  16-28. 

HAYDN,  Symphony  5  (Peters  ed.),  Third  movement,  Trio,  first  twenty-six 
measures. 

THE  ELISION. 

QQm  When  the  Cadence  of  a  Phrase  or  Period  corresponds 
harmonically  so  accurately  to  the  beginning  of  the  following  Phrase 
or  Period  that  end  and  beginning  are  practically  identical,  it  is 
possible  to  suppress  the  entire  Cadence-measure,  and  hasten  on  into 
the  next  Phrase  without  the  pause  or  check  for  which  Cadences  are 
expressly  made  (par.  26). 

This  suppression  or  "Elision"  of  the  Cadence  is  almost 
exclusively  applied  to  the  perfect  Cadence,  though  possible  at  semi- 


93 


THE    ELISION. 


Par.  60. 


cadences  also.  It  may  be  effected,  firstly,  when  the  approach  to  the 
Cadence  has  been  so  indicative  or  suggestive  of  the  latter  that  its 
absence  will  be  sufficiently  compensated  for; 

Or,  secondly,  when  the  beginning  of  the  succeeding  Phrase  is 
striking  enough  to  remove  any  misconception  of  the  form  (see  par. 
93#,  first  and  last  clause). 

The  object  of  the  elision  is  either  to  avoid  an  unnecessary  and  stagnating 
pause,  or  to  obtain  an  exhilarating,  urging  effect,  which  is  sometimes  very 
effective.  But  it  must  be  distinctly  understood  that  it  is  a  comparatively  rare 
and  dangerous  artifice,  the  expediency  of  which  should  be  carefully  tested  in 
each  case.  For  illustration: 


65. 


I.     Andante. 


=dzt:=±ti! 


HAYDN. 


a.     /4  llegretto. 


Par.  60. 


THE    ELISION. 


99 


Repetition  (extended.) 

"•? 

V— *- 


MENDELSSOHN. 

•*&=*=&=*=* 


1 


*i)  These  small  notes  represent  the  perfect  Cadence  which  is  due  and  ex- 
pected at  this  point,  but  which  is  suppressed  (omitted),  causing  the  elision  of 
the  entire  Cadence-measure.  In  other  words,  this  is  the  fourth  measure  of  the 
first  phrase,  and,  simultaneously,  the  first  measure  of  the  following  one.  The 
latter  immediately  asserts  itself  so  completely  (through  abrupt  change  of  style 
and  abrupt  transition  from  f  to/")  that  the  actual  cadence  is  "cut  out" 
entirely,  and  the  sum  of  measures  in  the  two  Phrases  is  only  seven,  instead  of 
eight. 

*2)  The  first  chord  in  the  fourth  measure  represents  the  "  evaded  "  form 
of  the  (expected)  cadence;  but,  at  the  same  time,  it  corresponds  exactly  to 
the  beginning  of  the  first  melodic  member  of  the  Phrase,  which  it  is  the 
author's  intention  to  repeat,  and  which  he  proceeds  to  repeat  immediately, 
without  the — in  this  instance  undesirable — delay  which  a  full  exposition  of  the 
cadence  would  cause. 

*3)  "Songs  without  Words,"  No.  42,  near  the  end;  the  "extension"  is 
cited  in  Ex.  41,  No.  2.  See  also  Ex.  70,  Note  *4). 

BEETHOVEN,  Pfte.  Son.  op.  2,  No.  3,  Adagio,  between  meas.  10  and  n. 

MENDELSSOHN,  "  Songs  without  Words"  No.  4,  bar  $  from  the  end. — No. 
9,  bar  3  from  the  end. — No.  n,  between  meas.  4  and  5  (compare  with  measure  19 
from  the  end,  where  the  Elision  does  not  appear). — No.  31,  bar  5  from  the  end. 

MOZART,  Pfte.  Son.  No.  n  (Cotta  edition),  between  measures  7  and  8; 
also  last  movement  (Rondo),  measures  13-19  (repeated  Phrase  with  Elision). 

On  the  other  hand,  care  must  be  taken  not  to  confound  the 
Elision  with  those  forms  of  concealed  or  evaded  cadence,  where  the 
same  abrupt  leap  into  the  new  style  of  the  following  Phrase  takes 
place  within  the  Cadence-measure,  but,  contrary  to  appearances, 
does  not  suppress  the  latter.  For  example  : 


Allegro 


66. 


100 


THK    ELISION. 


Par.  60. 


*i)  Notwithstanding  the  abrupt  and  misleading  change  of  character  at  the 
beginning  of  this  cadence-measure,  there  is  no  Elision,  for  the  coming  Phrase 
contains  its  four  measures  without  this  one.  The  "  change"  must  be  regarded 
as  occurring  upon  the  second  i6th-note,  not  upon  the  first  one ;  consequently, 
according  to  par.  2<t  (third  clause,  which  review),  this  is  only  the  preliminary 
measure  of  the  2nd  Phrase;  and,  though  thematically  consistent  with  what 
follows,  it  is  no  more  than  one  of  the  innumerable  modes  of  "  bridging  over" 
the  Cadence-space  (par.  18). 

BEETHOVEN,  Pfte.  Son.  op.  2,  No.  3,  meas.  12-21,  is  a  still  more  delusive 
illustration  of  the  absence  of  an  Elision  where  one  is  apt  to  be  suspected 
(between  measures  12  and  13).  But,  here  again,  the  new  Phrase  (and  its  subse- 
quent reproduction,  also)  begins  upon  the  second  i6th-note  of  the  cadence- 
measure,  and  has  its  quota  of  4  measures  without  the  "  bridging",  though  the 
latter  is  directly  characteristic  of  the  coming  Phrase.  Of  all  the  possible  ways 
of  bridging  over  the  space  between  one  Phrase  and  the  next,  tin's  must  be  con- 
ceded to  be  the  most  consistent  and  admirable  ;  i.e.,  with  material  which  antici- 
pates the  coming  Phrase. 

See  also  MENDELSSOHN,  "  Songs  without  Words",  No.  28,  meas.  5  from  the 
end;  here,  also,  "end"  and  "beginning"  are  interlocked,  but  there  is  no 
Elision. — No.  26,  meas.  n  from  the  end;  no  Elision, — comp.  2  meas.  later. 

EXERCISE  14. 

Former  Periods,  or  new  ones,  with  Consequent-group,  in  each  of  the  three 
varieties  of  structure  explained  in  par.  55. 

The  same,  with  Antecedent-group  (par.  56). 

Work  from  Cadence  to  Cadence ;  make  all  Cadences  sufficiently  emphatic , 
— rather  too  distinct  than  too  vague.  Still  avoid,  for  a  time,  any  elaborate 
modes  of  evading  or  concealing  the  Cadences,  such  as  may  too  completely  dis- 
guise their  purpose,  and  impair  firm  outlines  of  form. — Review  the  directions 
given  in  Exercise  9. 


Par.  62.  THE    DOUBLE    PERIOD.  IOI 

EXERCISE  15. 

Write  a  number  of  Phrase-groups,  of  both  similar  and  dissimilar  thematic 
contents,  according  to  par.  57  and  58.  Each  group  must  be  limited  to  three 
fundamental  Phrases,  at  present,  though  this  number  may  be  optionally  in- 
creased b\  the  repetition  (exact  or  modified)  of  any  of  the  Phrases. 

And  make  a  few  experiments  with  the  Elision;  best  in  connection  with 
repetition  of  Phrase  or  Period. 


CHAPTER   VIII. 

THE     DOUBLE    PERIOD. 

6  1  .  The  Double  period  consists  in  the  union  of  TWO  PERIODS, 
and  embraces,  consequently  (when  regular),  four  Phrases,  so  con- 
ceived and  distributed  that  the  Period-relation  is  apparent  between 
Phrases  i  and  2,  between  Phrases  3  and  4,  and  also,  on  a  broader 
scale,  between  these  two  pairs. 

62.  The  two  Periods  of  a  legitimate  Double- period  form  are 
just  as  coherent,  and  just  as  closely  dependent  one  upon  the  other, 
as  the  Antecedent  and  Consequent  Phrases  of  the  simple  Period 
forms  are.  And,  for  this  reason,  the  Cadence  in  the  center  (i.  e.,  at 
the  end  of  the  2nd  Phrase)  must  be  in  the  nature  of  a  Semicadence, 
though  almost  unavoidably  somewhat  heavier  than  an  ordinary  light 
semicadence. 

The  Double  period  must  be  conceived  simply  as  an  expanded  growth  of 
the  single  Period,  the  Phrases  of  which  assume  such  a  breadth  (length)  that 
they  almost  necessarily  separate  slightly  in  their  respective  centers.  These  in- 
termediate points  of  repose  will,  naturally,  be  lighter  than  the  one  in  the 
center  of  the  whole.  The  latter,  though  still  only  a  Semicadence  (inasmuch  as 
it  corresponds  to  the  semicadence  of  the  simple  Period),  will  be  rhythmically, 
and  perhaps  even  harmonically,  stronger  or  heavier  than  those  at  the  termina- 
tion of  the  ist  and  3rd  Phrases. 

The  various  degrees  of  rhythmic  and  harmonic  weight  which  it  is  possible 
to  impart  to  a  semicadence-chord,  are  distinctions  which  increase  in  import- 
ance as  the  forms  enlarge.  Therefore,  the  following  general  rules  must  be 
observed  :  A  semicadence  is  harmonically  "  heaviest"  when  made  upon  some 
Dominant  Triad,  or  upon  the  Tonic  Triad  of  a  related  key,  as  these  are  strong 
chords,  but  chords  which,  while  they  invite  repose,  still  suggest  inevitable 
onward  movement.  A  semicadence  upon  any  form  of  any  other  chord,  or  upon 
the  dissonant  forms  of  Dominant  (or  other)  harmony,  is  "lighter",  either 
because  it  presses  forward  too  vigorously  of  itself,  or  because,  if  itself  a  heavy, 


102  THE    DOUBLE    PERIOD.  Par.  64 

stagnating  chord,  it  gives  immediate  birth  to  an  active  counteracting  agency. 
Further:  a  semicadence  is  rhythmically  heavy  or  light  in  exact  proportion  to 
the  duration  of  the  chord, — the  length  of  time  spent  in  pausing, — and  the  con- 
sequent length  or  brevity  of  the  "bridging"  which  follows.  Finally:  the 
rhythmic  distinction  is  far  the  more  important  of  the  two. 

63.  The  Cadence-conditions  of  the  regular  Double  period  are, 
then,  as  follows  : 

(a.)  At  the  end  of  the  first  Phrase  a  light  semicadence,  con- 
sisting perhaps  most  frequently  of  the  Tonic  chord,  with  Third  or 
Fifth  (instead  of  Root)  in  one  of  the  outer  parts ;  or  the  Domi- 
nant chord,  consonant  or  dissonant, — the  latter  being  lighter  than 
the  former  ;  or  possibly  some  other  chord  in  one  of  its  lighter 
forms.  And,  in  any  case,  rhythmically  more  or  less  brief,  exactly 
according  to  the  degree  of  interruption  desired  (see  par.  2<5,  final 
clause). 

(b)  At  the    end    of   the   2nd  Phrase    a    heavier  semicadence, 
corresponding  generally,  in  choice  of  chord,  to  the  table  given  in 
par.  36  (to  which  strict  attention  must  be  given),  but  probably  with 
more    rhythmic    stress,    i.  e.,   longer    duration,   than    in    the  single 
Period.      It  is  most  apt  to  be  a  Tonic  chord  of  the  Dominant  Key; 
or,  more  rarely,  a  Tonic  chord  of  the  Relative,  or  some  other  next- 
related  key,  approached  \vith  a  more  elaborate  and  emphatic  modu- 
lation.    But  it  must  never  be  so  heavy  as  to  lose  its  semicadence 
effect,  and  thus  destroy  the  continuity  of  the  whole. 

(c)  At  the  end  of  the  3rd  Phrase  a  light  semicadence  again, 
perhaps  corresponding  to  the  first  one,  though  a  little  more  likely  to 
incline  toward  the  Subdominant  harmonies  ;  and  again,  with  a  more 
emphatic  modulatory  manifestation. 

(d)  At  the  end  of  the  4th   Phrase   (in  the  regular,  complete 
Double  period)  the  Tonic  perfect  Cadence. 

64.  The  necessary  cohesion  between  the  two  Periods  is  most 
effectively  preserved  by  constructing  the   2nd   Period  melodically 
PARALLEL  with  the  i st.      See  par.  390. 

The  parallelism  need  not,  however,  be  maintained  any  farther 
than  during  the  first  melodic  member  of  the  2nd  Period;  although, 
generally,  the  entire  3rd  Phrase  corresponds  exactly  or  nearly  to  the 


Par.  01. 


THE    DOUBLE    PERIOD. 


I03 


ist  Phrase;  and,  in  cases  of  extreme  parallelism,  even  the  4th 
Phrase  follows  the  thematic  design  of  the  2nd  Phrase,  nearly  to  the 
end.  Phrase  2  should  contrast  with  phrase  i. 

The  following  example  illustrates  the  Double  period  as  an  "ex- 
pansion of  the  single  Period  ",  in  parallel  construction  : 

.  'ntiaitte.  — -w^     ,  Phrase  2. 

PKICIOH  I.  Phr»f>e  t. 


67. 


OT-        *  *-W5 :l>i-_         SJEiaSpJZ:  .,       _      . 

i  *  L  r  F  i 


rv; n — 'i — I — *-*-]-* — *  i.-t-»T- '-,  • n — i f— 

S!          "* 

-~-    \/  PKKIOD  2. 
^ ••    y  Plii-iiscS  (like  1). 


£=T  ^zpizz^TZi:  ^_g_^j:^= 
— af _ f _ k: :g-j*_-ct£g~S-"  ~P^  I— 
^-F^  ^^^^ ^-3=^ 


*i)  This  cadence,  like  that  which  precedes  it  in  the  4th  measure,  is  made 
upon  the  Dominant  harmony  with  the  chord-fifth  in  the  Soprano.  But  it  is 
rhythmicaUy  stronger  here  than  in  the  4th  measure. 

*2)  The  parallelism  of  construction  extends  up  to  this  point,  with  no  other 
than  the  purely  unessential  modification  in  the  gth  measure. 

*3)  There  is  no  reasonable  doubt  of  this  being  the  Double-period  form ; 
but,  the  measures  being  small  and  the  tempo  somewhat  active,  it  creates  the 
impression  of  a  Large  single.  Period  (of  8-measure  Phrases  and  parallel  con- 
struction) with  a  semicadence  in  the  middle  of  each  half,  coinciding,  on  a 
larger  scale,  with  the  syntax  of  Ex.  13,  No.  3— which  see.  This  latter  analysis 
(i.  e.,  Large-  single  Period)  would  certainly  be  correct  if  the  tempo  were 
allegro  or  presto . 


104 


THE    DOUBLE    PERIOD. 


Par.  65. 


65.  The  transitional  grades  and  progressive  shades  of  distinction  from 
the  perfectly  unmistakable  Single-period  form  with  no  intermediate  interrup- 
tions, into  the  perfectly  unmistakable  Double  period  with  its  four  legitimate 
cadences,  are  so  innumerable,  that  it  will  often  be  impossible  to  define  accu- 
rately the  denomination  of  certain  examples  of  this  kind  found  in  musical 
literature ;  and  even  so  slight  a  thing  as  a  deviation  in  the  tempo  or  "  phrasing" 
of  the  performer  may  influence,  perhaps  positively  alter,  the  structural  im- 
pression and  analysis.  Of  one  thing  the  student  may  rest  assured,  namely  :  in 
proportion  as  the  distinction  becomes  thus  more  minute  and  questionable,  it 
becomes  of  less  and  less  moment  to  defne  it,  and  leas  -wise  to  insist  upon  un 
absolute  definition.  See  par.  10;  and  par.  77. 

For  examples  of  doubtful  form,  between  Single  and  Double  period,  see: 

MENDELSSOHN,  "  Song  without  Words  "  No.  12,  meas.  7-22  (a  noticeable 
semicadence  in  the  center  of  the  first  half,  but  none  whatever  in  the  second  half; 
like  Ex.  13,  No.  i).  No.  22,  first  9  measures  (exactly  the  same).  No.  8,  first  17 
measures  (probably  Double,  despite  the  rapid  tempo).  No.  19,  measures  3-11 
(probably  Double).  No.  25,  first  10  measures  (probably  Single;  extended  at 
end).  No.  32,  measures  4-14  (probably  Single;  extended  at  end).  No.  48,  first 
8  measures  (probably  Single). 

BEETHOVEN,  Pfte.  Son.  op.  10,  No.  i,  Adagio,  first  16  measures  (probably 
Double);  op.  10,  No.  3,  Meniietto,  first  16  measures  (probably  Single)  ;  op.  14, 
No.  i,  Allegretto,  first  16  measures  (probably  Single);  Rondo,  op.  51,  No.  i, 
first  8  measures  (probably  Single). 

CHOPIN,  Preludes,  op.  28,  No.  8,  first  8  measures  (probably  Single). 

The  following  examples,  on  the  contrary,  are  beyond  a  doubt 
genuine  Double  periods,  of  parallel  construction  : 


68. 


Phrase  2. 


THE    DOUBLE    PERIOD. 


I05 


PERIOD  2. 


j*  f .  <ttE=ft-*-^s*=$p     tf-rfrr^ 

—F  '   L     If-  i     I '  l^^.1     I  j-1 


1)  Phrase  3  (like  1). 


BEETHOVEN. 


*i)  This  cadence,  it  is  true,  cannot  be  called  heavier  than  the  one  in  the 
4th  measure;  nevertheless,  it  serves  its  purpose  sufficiently  well.  The  con- 
struction of  the  2nd  Period  is  here  again  extremely  parallel,  almost  to  the 
cadence;  but  compare  with  Ex.  49;  and  observe  that  the  parallel  Double 
period  differs  from  the  repeated  Period  in  the  differentiation  of  its  2nd  and 
4th  cadences. 

See  also:  BEETHOVEN,  Pfte.  Son.  op.  22,  Finale,  first  18  measures. 

CHOPIN,  Preludes,  op.  28,  No.  7;  No.  10  (Phrase  3  sequence  of  Phrase  i; 
Phrase  4  like  2,  excepting  Cadence;  slight  cadence-extension) ;  No.  14  (Phrase 
2  extended  to  6  measures;  Phrase  4  only  3  measures;  Codetta  3  measures); 
No.  23  (Phrase  4  extended  to  5  measures  ;  Codetta,  6  measures,  beginning  after 
— or  with — an  Elision) ;  No.  17,  first  18  measures;  No.  19,  first  16  measures. 

CHOPIN,  Nocturne  No.  i  (op.  9,  No.  i),  first  18  measures  (cadence-exten- 
sion);  Nocturne  5  (op.  15,  No.  2),  first  16  measures  (regular,  and  extremely 
parallel, — almost  Single  period  repeated). 

MOZART,  Pfte.  Son.  No.  7  (Cotta  ed.),  Adagio,  first  eight  measures;  Pfte. 
Son.  No.  13  (Cotta  ed.),  Finale,  first  16  measures  ;  Pfte.  Son.  14  (Cotta),  Finale, 
first  16  measures;  Pfte.  Son.  No.  15  (Cotta),  2nd  movement,  first  16  measures. 

SCHUBERT,  Pfte.  Son.  No.  io(B?  major),  first  18  measures  (the  2nd  cadence 
expanded);  Pfte.  Son.  No.  2  (op.  53),  Scherzo,  first  40  measures  (very  large; 
8-meas.  Phrases,  Nos.  2  and  4  extended  at  end  to  12  measures). 

MENDELSSOHN,  "  Songs  without  Words  ",  No.  15,  first  22  measures  (Introd. 
6  meas.)  ;  No.  18,  first  17  measures;  No.  24,  first  18  measures;  No.  30,  first 
15  measures  (4th  Phrase  short) ;  No.  37,  first  17  measures. 

BRAHMS,  op.  116,  No.  6,  "Trio"  (5-sharp  signature). — Op.  116,  No.  7, 
first  20  measures  (each  Consequent  extended) ;  compare  last  31  measures  of 
same  work-. — Op.  117,  No.  i,  "//«  Adagio". — Op.  117,  No.  2,  measures  22 
(second  half)  1038. — Op.  118,  No.  5,  first  16  measures. — Op.  119,  No.  i,  measures 


io6 


THE    DOUKLK     PK1UOI). 


Par.  66. 


1-16.  —  Op.  119,  No.  2,  second  tempo  (4-  sharp  signature)  first  16  measures.— 
Op.  119,  No.  4,  measures  1-20;  measures  21-j.o;  measures  41-60  (each  a  regular 
parallel  Double  period,  of  5-measure  Phrases). 

66.  The  CONTRASTING  construction  (39^)  of  the  2nd  Period, 
in  the  Double-period  form,  is  far  more  unusual  and  confusing  than 
the  parallel  construction  ;  because,  when  the  3rd  Phrase  does  not 
melodically  confirm  the  ist  one,  it  is  much  more  difficult  to  preserve 
the  cohesion  of  the  two  Periods  (demanded  in  par.  62),  and  to  pre- 
vent the  impression  of  t-wo  separate,  independent  Periods  (as  in  the 
Two-Part  Song-form  :  see  par.  74). 

Still,  "four  Phrases"  in  coherent  succession,  if  such  be  care- 
fully sustained,  are  likely  to  be  a  Double  period  from  sheer  symmetry 
of  design,  whether  Phrase  3  is  like  Phrase  i  or  not  ;  only  excepting, 
of  course,  possible  cases  where  the  4  Phrases  are  reducible,  by  clear 
evidence  of  repetition,  to  a  "repeated  Period",  or  to  a  "Group 
of  3  Phrases."  But  the  continuity  of  the  Double-period  form 
must  be  assured,  by  avoiding  too  complete  a  Cadence  at  the  end  of 
the  2nd  Phrase. 

See  again  MENDELSSOHN,  "Songs  without  Words",  No.  13,  last  23  meas- 
ures, already  cited  as  example  of  the  Group  of  4  Phrases. 

And  CHOPIN,  Prelude  op.  28,  No.  18  (Phrase  I,  4  measures;  Phrase  2, 
similar,  5  measures  ;  Phrase  3,  four  measures  ;  Phrase  4,  extended  to  8  meas- 
ures). This  might  be  called  a  Contrasting  Double  period,  but  the  title  "  Phrase- 
group"  is  more  consistent  with  its  character. 

Furthermore,  the  Contrasting  Double  period  may  represent  a 
Large  contrasting  Single  period,  with  interruption  in  the  center  of 
each  half  (see  par.  62,  second  clause).  For  illustration  : 


A  ndante. 


69. 


Par.  67. 


THE  EXTENSIONS  OF  THE  DOUBLE  PERIOD. 


£_                                                                !        h 

"~~~^ 

•       _ 

»  • 

it             0                               g                              • 

*      9*        * 

f-« 

VT?       r?*~  "                                 '                      ' 

—  1  *1  '  

PKUIOU  -. 
Phrase  3.   *1) 

w  _                                                           "*" 
•  \lf                                m~*~  *        m 

4L 

± 

—  pf?  —  ^^ 

*  *  1    *  .  * 

MENDELSSOHN. 


*i)  Thematically  (i.e.,  melodically),  Phrase  3  is  totally  unlike  Phrase  i; 
and  there  is  likewise  no  resemblance  between  Phrases  4  and  2.  It  is  "  contrast- 
ing" construction.  But  close  formative  relation  is  preserved,  throughout,  by 
uniformity  of  style  and  character;  and  the  continuity  of  structure  is  absolute. 

*2)  The  "perfect-cadence  Tonic"  is  wanting  in  Bass,  here,  because  an 
extension  follows,  to  which  reference  will  be  duly  made. 

*3)  "  Song  without  Words  "  No.  2,  near  the  end.  Compare  these  meas- 
ures -with  the  first  16  measures  of  the  same  Song,  where  the  construction  is 
parallel. 

See  also  :  MENDELSSOHN,  "  Songs  without  Words  ",  No.  6,  measures  18-34  '•> 
No.  3,  first  16  measures  after  the  2nd  double-bar. 

MENDELSSOHN,  op.  16,  No.  r,  first  21  measures  (4th  Phrase  short ;  Codetta, 
2  measures,  repeated  and  extended). 

HAYDN,  Symphony  No.  6  (Peters  ed.),  Menuetto,  first  18  measures  (Phrase 
4  extended,  as  shown  in  Ex.  39,  No.  i). 

CHOPIN,  Mazurka  No.  32  (op.  50,  No.  3),  first  16  measures. 

BEETHOVEN,  Pfte.  Son.  op.  22,  Adagio,  first  9  measures  (a  little  doubtful 
whether  Single  or  Double  period, — probably  the  latter). 

THE  EXTENSIONS  OF  THE  DOUBLE  PERIOD. 

6*7.  Nothing  further  need  be  said,  here,  concerning  the  details 
of  ordinary  Phrase-extension  (par.  24  to  30),  than  that  they  may, 
as  a  matter  of  course,  be  applied  to  any  of  the  Phrases  which  collec- 
tively constitute  the  Double  period.  But  see  par.  53.  The  only 
devices  of  enlargement  to  be  specially  considered  in  this  place,  are 
those  of  modified  repetition,  and  Group-formation,  which  may  be 
utilized  as  follows  : 


IOS  THE   EXTENSIONS  OF  THE   DOUBLE   PERIOD.  Par.  6Tc. 

(a)  The  modified  repetition  of   the  entire  Double  period,    of 
which  an  example  will  be  found  in  MOZART,   Pfte.   Son.   No.   n 
(Cotta  ed.),  Andante,  first  32  measures  (rep.  variated). 

See  also :  SCHUBERT,  Pfte.  Son.  No.  6  (op.  147),  Finale,  measures  51  to  80 
(quaintly  modified  repetition,  contracted  two  measures  at  end ;  but  otherwise 
preserving  all  salient  traits). 

CHOPIN,  Mazurka  No.  13,  first  36  measures  (Introd.  4  measures) ;  Mazurka 
No.  37,  first  44  measures  (Phrase  4  each  time  extended  to  10  measures ;  repeti- 
tion modified) ;  CHOPIN,  Nocturne  No.  3  (op.  9,  No.  3)  first  40  measures  (Phrase 
4  extended  to  8  measures ;  repetition  elaborate). 

i 

(b)  The    modified   repetition   of   either,   or    each,   of    the   two 
Periods. 

This  is  a  somewhat  misleading  device,  especially  when  applied 
to  the  first  Period  (comp.  par.  42).  A  Double  period,  if  interrupt- 
ed in  the  center  for  the  sake  of  repeating  its  first  Period,  will 
almost  certainly  present  the  appearance  of  two  separate  Periods, 
and  become  a  Two-Part  Song-form.  But  see  CHOPIN,  Mazurka 
No.  29,  first  32  measures  (contrasting  construction  ;  each  Period 
exactly  repeated,  and  evidently  without  completely  disturbing  the 
continuity  of  the  whole). 

See  also :  BEETHOVEN,  Pfte.  Son.  op.  31,  No.  2,  Finale,  measures  1-31  (2nd 
Period  repeated  and  extended);  Pfte.  Son.  op.  106,  Adagio,  measures  1-26 
(ditto;  Introd.  one  measure). 

(c)  The    enlargement    of    the    Double  period    to    5    or    more 
Phrases  by  repetition  of   the  last  Phrase,   or    Group-formation    of 
the  final  Consequent. 

This  process  of  extension  can  scarcely  be  applied  to  any  other 

1  than  the  Double  period  of  parallel  construction,  in  'which  identity 

of  design  is  so  fully  assured  by  the  correspondence  of  Phrase  3  to 

Phrase  1,  that  it  cannot  be  destroyed  by  anything  that  follows  (in 

the  same  section). 

The  repetition  of  the  last  Phrase  is,  of  course,  imaginable  even  in  a  Double 
period  of  contrasting  construction.  But  Grow^-formation  would  be  so  diffi- 
cult to  prove  at  the  end  of  a  contrasting  Double  period,  that  the  entire  sentence 
would  almost  certainly  be  called  a  "Phrase-group",  from  sheer  expediency. 

For  illustration  : 


Par.  o;  .        THE  EXTENSIONS  OK  THE  DOUBLE  PERIOD. 

A  ndante  cantabile. 


7O. 


HE 


PKKIOD  1. 
Phrase  1 


IC>9 


'' 


,  i  (etc.  S 

~  £_f_  ^=jj±i^=q^n>-rJrTT 


(etc.  See  Original.) 


Phrase  a. 


•-  %?- 


PEUIOD  2      — 
Plir,ise3  (likel.) 


-f2-          •*- 


-^ — ± 


I  Mi  rase  4. 
(tirst  version). 


T 


Phrase  4. 
(second  version). 


IIO  THE  EXTENSIONS  OF  THE  DOUBLE   PERIOD.  Par.  68a. 

Codetta. 


CHOPIN.     Nocturne,  op.  15,  No.  i. 


jrr  J~       =p—       —  

'  ~i 

i 

f  *  '  '    IT 

J..J..J.. 

1=  
j 

*r         II 

1 

C~"\  *                X3  W          'L.                            P                                       r* 

M                          II 

^    :   U    l^—L^'.-J  —  Lj^l- 

- 

P*  

IE 

*i)  At  this  point,  already,  the  identity  of  the  "  Double-period  "  form  is  so 
fully  established,  that  no  reasonable  amount  of  enlargement  by  the  addition  of 
Phrases  (whether  similar  or  not)  could  change  the  denomination. 

*2)  The  perfect  cadence,  due  and  expected  at  this  place,  is  completely 
evaded.  The  following  Phrase  is  therefore  not  a  repetition,  but  a  reproduction, 
of  the  preceding.  It  is  a  "Consequent-group",  as  shown  in  par.  54. 

*3)  Although  this  is  the  genuine  form  of  the  perfect  cadence  (Root  in  both 
outer  parts),  it  is  made  so  brief,  and  followed  so  abruptly  by  the  new  harmony, 
that  it  assumes  the  nature  of  the  "  concealed  cadence  "  ;  the  following  2  meas- 
ures are  a  modified  repetition  of  the  second  half  of  the  Phrase. 

*4)  At  this  place  there  is  an  unusually  distinct  "  Elision"  of  the  cadence- 
measure.  This  chord  certainly  stands  for  the  end  of  the  foregoing  Phrase; 
but  it  is  just  as  certainly,  at  the  same  time,  the  beginning  of  the  Codetta,  as 
comparison  with  the  first  thematic  member  of  the  Double  period  proves. 

68a.  The  enlargement  of  the  Double  period,  finally,  by  the 
addition  of  an  Introduction  (par.  28),  an  Introductory  Phrase  (par. 
44),  a  Prelude  (45) — or  by  the  addition  of  a  Codetta  or  Postlude 
(par.  51-52), — is  not  only  possible,  but  more  appropriate  and  neces- 
sary than  in  smaller  forms.  Illustrations  are  contained  in  some  of 
the  above  references,  and  will  also  be  found  in  the  following 

MISCELLANEOUS    EXAMPLES    OF    DOUBLE-PERIOD    EXTENSIONS. 

MENDELSSOHN,  "Song  without  Words"  No.  20,  first  21  measures  (five 
4-measure  Phrases,  No.  5  new,  obtained  by  Group-formation  of  second  Period); 
No.  21,  first  32  measures  (Prelude  8  measures;  Double  period  extended  by 
Group-formation;  Phrase  4  three  measures,  Phrase  5  nine  measures);  No.  26, 
first  15  measures  (two-measure  Phrases,  Group-formation  of  2nd  Period);  No. 


Par.68b.  THE  EXTENSIONS  OF  THE  DOUBLE   PERIOD.  Ill 

32, first  14  measures  (Introd.  4  measures  ;  2-measure  Phrases,  Group-formation); 
No.  36,  first  27  measures;  No.  39,  first  15  measures  (2-measure  Phrases,  a  little 
doubtful  whether  Single  or  Double-period  form ;  Group-formation ;  Codetta 
of  i  measure,  repeated) ;  No.  2,  first  29  measures  (seven  Phrases,  but  unmistak- 
ably Double-period  form,  parallel  construction,  enlarged  by  Group-formation 
of  2nd  Period). 

CHOPIN,  Preludes,  op.  28,  No.  3  (Introd.  2  measures;  Phrase  2,  five  meas- 
ures; Phrase  5,  eight  measures;  Codetta);  No.  4  (Phrase  2,  eight  measures; 
Phrase  4,  five  measures  extended  to  nine);  No.  5  (Introd.  four  measures;  con- 
struction parallel;  Antecedent-group  in  each  Period);  No.  6  (Phrase  3,  six 
measures;  Phrase  4  reproduced  , — Group-formation,  as  in  Ex.  70;  Codetta); 
No.  13,  first  20  measures. — CHOPIN,  Mazurka  31  (op.  50,  No.  2),  first  28  meas- 
ures (Introd.  8  measures). 

BACH,  Ouverture  a  la  maniere  fra^aise,  "  Echo  ",  measures  1-22  (Phrase  2 
eight  measures  ;  Phrase  4  also  extended). 

SCHUBERT,  Pfte.  Son.  No.  8  (C  minor),  Adagio,  measures  1-18  (4th  Phrase 
short)  ;  Pfte.  Son.  No.  10  (B[?  major),  ist  movement,  measures  1-18  (2nd 
cadence  expanded). 

BRAHMS,  op.  1 16,  No.  3  (Phrase  i  of  each  Period  repeated) . — Op.  117,  No.  2, 
first  22  measures  (Consequent-group  at  end). — Op.  119,  No.  i,  measures  17-42 
(parallel;  cadence  imperfect;  each  Consequent  extended). — Op.  119,  No.  3, 
measures  1-24  (parallel;  each  Consequent  extended). 

(b)  The  device  of  transforming  the  (Large)  Single  period  into 
a  Double  period,  by  occasioning  a  semicadence  in  the  center  of  each 
half  (par.  62,  last  clause),  may  also  be  applied  to  the  Double  period, 
— which,  if  large  enough,  may  thus  assume  the  design  of  a 

"QUADRUPLE  PERIOD". 

See  MENDELSSOHN,  "Song  without  Words"  No.  13,  first  20  measures 
(extended;  it  is  not  only  possible,  but  perhaps  necessary,  to  regard  this  as  a 
form  of  4 — or  5 — four-measure  Periods,  consisting  of  2-measure  Phrases). 

CHOPIN,  Mazurka  28  (op.  41,  No.  3),  first  38  measures;  CHOPIN,  Polonaise 
No.  6  (op.  53),  measures  17-48  (quasi  repeated  Double  period) ;  CHOPIN,  Pre- 
lude, op.  28,  No.  16  (extended  13  measures  at  end). 

SCHUBERT,  Pfte.  Son.  No.  5  (op.  143),  first  46  measures. 


EXERCISE  16. 

Write  a  number  of  regular  (i.e.,  unextended)  Double  periods,  of  Parallel 
construction  (par.  61-64). 

Use  both  the  major  and  the  minor  modes,  best  in  alternate  examples. 
Employ  different  varieties  of  duple  and  triple  time,  and  the  different  grades  of 
tempo  from  Adagio  to  Presto.  And  adopt  different  styles,  imitating  (even 


112  THE    EXTENSIONS    OF    THE    DOUBLE    PERIOD.  Par.  68b. 

closely  or  literally,  if  necessary)  the  style  of  certain  given  illustrations,  or  of 
any  other  familiar  or  favorite  composition. 

See  the  N.  B.  on  page  52. 

Work  towards  the  Cadence  during  each  Phrase,  and  from  Cadence  to 
Cadence.  Avoid  vague  forms  of  Cadence,  as  a  rule,  but  employ  freely  the 
varieties  of  concealed  and  evaded  Cadence  already  learned  and  mastered. 

A  few  illustrations  of  the  Contrasting  Double  period  may  be  attempted ; 
best,  as  Large  Single  period  with  intermediate  interruptions  (par.  66). 

EXERCISE  17. 

The  examples  of  Exercise  16,  or  new  ones,  extended  in  the  manner  indi- 
cated in  par.  670,  b,  c;  and  par.  6&z. 


Par.  69c.  THE    SONG-F'ORMS,    OR    PART-FORMS. 


DIVISION  TWO. 
THE  SONG-FORMS,*  OR  PART-FORMS. 


INTRODUCTORY. 

6Q.  The  comparative  definition  of  the  various  members  and 
distinctive  elements  of  form  which  enter  into  the  composition  of 
this  second,  larger,  Division  of  structural  evolution,  is  as  follows  : 

(a)  The  PHRASE:    is  an   uninterrupted  series  of   "Chords", 
and    coherent    melodic    "Members",   of    such  a  length  as  can  be 
reasonably  sustained  without  palpable  interruption, — generally  from 
2  to  8  measures ;  closing  with  a  Cadence  (perfect  Cadence  or  Semi- 
cadence). 

(b)  The  PART  :  is  a  coherent  series  of  such  "  Phrases  ",  to  the 
number  of  two,  three,  four  or  more  ;  (possibly  only  one ;  and,  on  the 
other  hand,  never  more  than  can  be  held  without  effort  in  close  re- 
lation and  connection  with  each  other)  ;  terminating,  as  a  rule,  with 
a  strong  Tonic  Cadence. 

(c)  The  SONG-FORM  :   is  a  coherent  series  of  such  "  Parts",  to 
the  number  of  2,  3  or  more;   ending,  as  a  rule,  with  the  complete 
Tonic  perfect  Cadence. 

The  cohesion  of  the  members  is  observed  to  relax,  in  proportion  to  the 
growth,  or  increase  in  length,  of  the  form;  simply  because,  the  greater  the 
•dimension,  i.  e.,  length,  of  the  seveial  sections  of  the  design,  the  greater  the 
necessity  of  more  emphatic  points  of  repose,  and  of  more  variety  and  contrast 
between  the  individual  members.  Hence: 

Between  the   "Members"  of  the  Phrase  (i.e.,   the  Chords  and  melodic 
Motives)  there  is  little  or  no  separation  (at  most,  a  Quarter-cadence); 
l>ut  between  the  "  Phrases  "  of  a  Part  there  stands  a  Semicaderice; 

*So  called  in  analogy  to  the  rocal  forms  from  which  they  are  derived ;  but  just 
as  common  in  instrumental  as  in  vocal  composition. 


114  THE    TWO-PART    SONG-FORM.  Par.  71, 

And  between  the  "  Parts"  of  a  Song-form  there  stands,  as  a  rule,  a  com- 
plete Tonic  Cadence. 

Furthermore : 

The  melodic  and  rhythmic  elements  of  a  Phrase  must  be  very  closely  re- 
lated ; 

The  Phrases  of  a  Part  are  organically  related,  but  somewhat  independent; 

The  Parts  of  a  Song-form  are  still  kindred,  but  sundered,  and  often  quite 
independent  of  each  other,  in  certain  outward  respects. 

7O.  According  to  par.  69^,  the  name  "  Part  "  is  given  to  any 
series  of  Phrases,  in  comparatively  unbroken  succession,  extending 
up  to  a  cadence  of  sufficient  force  to  check  both  the  harmonic  and 
melodic  currents,  and  so  to  complete  the  musical  purpose  of  that 
section  as  to  set  it  temporarily  apart ;  but  not  of  sufficient  culminat- 
ing force  to  dispel  the  natural  expectation  of  a  following,  kindred, 
section,  which  may  more  fully  consummate  and  confirm  this  musical 
purpose. 

(a)  It  is  possible,  as  already  hinted,   that  one  single  Phrase, 
when  of  sufficiently  opulent  character,  and  especially  ivJicn  repeated, 
might  constitute  an  entire  Part.     But  it  is  not  probable  ;  and  ex- 
amples of  so  small  a  Part,  excepting  when  occupying  an   interme- 
diate position,   between  larger  Parts,   are  rare.      See  Ex.  74  ;   and 
Ex.  78. 

(b)  As  a  rule,  therefore,  the  "  Part"  will  contain  at  least  two 
Phrases ;  and  may  contain  as  many  more  as  the  limitation  dictated 
in  par.  69^  will  admit.     In  a  word,  each  of  the  designs  explained  in 
the  first  Division  of  this  book, — from  the  repeated  Phrase  up  to  the 
enlarged  Double  period, — represents  the  elements,  and  is  an  example, 
of  the  Single  Part.     And  it  is  perfectly  proper  to  speak  of  them 
as  the  "One-Part"  forms. 


CHAPTER  IX. 
THE   TWO-PART   SONG-FORM. 

71.  In  the  Two-part  Song-form,  or,  as  it  is  also  called,  the 
bipartite  form,  there  are  two  such  Parts  ;  usually,  though  not 
necessarily,  of  corresponding  general  character  and  design,  but  effect- 
ually disconnected  from  each  other  by  a  cadential  interruption. 


Par.  72c.  THE    TWO-PART    SONG-FORM.  IICJ 

7  2.SL.  Of  these,  the  FIRST  PART,  as  already  stated,  may  con- 
sist of  a  Repeated  Phrase  (rare)  ;  a  Period,  regular  or  extended ;  a 
Double  period,  regular  or  extended;  or  a  Group  of  Phrases.  It  is, 
perhaps,  most  commonly  a  Period,  and  regular  in  structure,  in 
keeping  with  the  principle  enunciated  in  par.  53  (which  review). 

The  First  Part  of  a  Song-form  is  the  "  statement"  of  the  leading  musical 
thought, — the  motive,  text,  or  subject;  which,  while  it  must  be  sufficiently 
impressive,  interesting,  and  pregnant  to  excite  attention  and  give  gratification 
by  itself,  should  depend  chiefly  upon  the  following  Part  (or  Parts,  if  there  be 
more  than  two)  for  its  development,  elaboration  and  corroboration. 

The  First  Part  may  be,  and  very  commonly  is,  repeated. 

(b)  The  Cadence  of  the  First  Part,  as  stated  in  par.  69^,  will 
be  made,  as  a  very  general  rule,  upon  some  Tonic  harmony,  in  its 
strongest  form,  and  in  strongest  rhythmic  location.      It  may  be  (in 
the  order  of  preference)  : 

(1)  The  Tonic  of  the  Dominant  key,  in  a  Song-form  beginning 
in  major ; 

(2)  The  Tonic  of  the  Relative  key,  in  a  Song-form  beginning 
in  minor  ; 

(3)  The  Tonic  of  the  Original  key  itself. 

(4)  Or  it  may  be  tfie  Tonic  of  some  other  Next-related  key;  i.  e.,  the  Dom- 
inant from  minor,  or  the  Relative  from  major, — instead  of   the  opposite,  as 
given  above ;  further,  the  Relative  of  the  Dominant ;  more  rarely,  the  Relative 
of  the  Subdominant  key;  and,  most  rarely,  the  Subdominant  key  itself;  pos- 
sibly some  Remotely-related  key,  as  the  "  Modulatory  Stride",*  or  one  of  the 
"  Mediant  "*  keys. 

(5)  Other  Cadence-conditions,  to  be  avoided  here,  are  explained  in  par.  93, 
to  which  brief  reference  may  be  made. 

(c)  The  general  modulatory  current  of  the  First  Part  will  be 
determined  by  the  choice  of  Cadence.     Review,  in  this  connection, 
par.   37,   recollecting   that  in  a   2-Part    form   the   First   Part   is  an 
"Antecedent",  simply  magnified  in  dimension. 

But,  within  this  general  modulatory  design,  there  exists  the 
opportunity  for  transient  modulations,  more  necessary  here  than  in 
smaller  forms,  because  the  increase  in  dimension  magnifies  the 
simpler  CAor</-relations  into  ^^/-associations.  But  see  par.  72^, 

*See  the  Author's  "  Material  used  in  Mus.  Composition  ",  p.  149,  and  p.  155. 


Il6  THE    TWO-FAHT    ROXG-FORM.  Par.  73c. 

second  clause  ;   and  avoid  overloading  the  First  Part  with  harmonic 
and  modulatory  color.      See  also  par.  94. 

73a.  The  SECOND  PART,  in  the  2-Part  Song-form,  is  probably 
most  prone  to  assume  the  same  form,  or  length,  as  its  First  Part, 
though  many  digressions  from  this  condition  of  symmetry  are  pos- 
sible and  common.  In  case  of  differentiation,  the  Second  Part  will 
almost  certainly  be  the  longer  of  the  two. 

Like  Part  I,  the  Second  Part  may  be  repeated. 

(b)  In  character,  the  Second  Part  must  maintain  fairly  close 
agreement  with  its  First  Part ;  not,  by  any  means,  servile  thematic 
relations  (i.  e.,   in  respect  of  melodic  design),  but  close  formative 
connection    (in    respect   of    general   harmonic    character,    rhythmic 
character  and  technical    style).      As  Part  I    is  an   "Antecedent", 
Part  II  is  its   "Consequent";   therefore,   a    certain  impression  of 
consistent  opposition  between  the  two  Parts  should  be  created,  such 
as  distinguishes,  on  a  smaller  scale,   the  Period-relation.      This  is 
very  frequently  effected  by  basing  the  first  member  of  Part  II  upon 
the  Dominant  harmony,  in  opposition  to  the  Tonic  basis  upon  which 
Part  I  starts  out. 

In  other  words,  while  CADENTIAL  SEPARATION  is  necessary,  no  radical 
change  of  CHARACTER  should  be  perceptible  in  passing  out  of  the  First  Part 
into  the  Second.  See  par.  69,  the  very  last  clause.  It  is  precisely  such  a  dis- 
tinct alteration  of  style,  that  ushers  in  a  new  "  Subject "  or  new  "  Song-form  " 
(like  the  "  Trio  "  in  the  Minuet, — pars.  117,  119, — or  the  "  Subordinate  Theme" 
in  the  Rondo  and  Sonata.- Allegro  forms).  The  end  of  the  First  "  Part "  is  suffici- 
ently marked  by  the  complete  cadential  break,  demanded  in  par.  ?2/>;  but 
the  condition  of  coherency  and  consistency,  uniformity  of  style  and  general 
character,  should  prevail  throughout  all  the  component  Parts  of  a  Song-form. 
On  the  other  hand,  as  already  stated,  the  thematic  (melodic)  conduct  may 
be  as  independent  as  is  desired,  and  a  certain  amount  of  individuality  is  quite 
essential. 

(c)  The  Second  Part  ends  with  the  complete  Tonic    perfect 
Cadence,  in  the  original  key ;   probably  emphasized  by  a  Codetta, 
or,  at  least,  by  an  extension  at  the  end  of  the  final  Phrase.      (See 
par.  793  and  c. ) 

In  its  modulatory  design,  the  Second  Part  will  be  found,  in  the 
most  perfect  models  of  the  2-Part  form,  to  incline  toward  the  lower 
(i.e.,  Subdominant)  keys, — just  as  the  First  Part  favors  the  higher 
(i.e.,  Dominant)  direction. 


Par.  74. 


TWO-PART    SONG-FORM,    PRIMARY    DESIGN. 


TWO-PART  SONG-FORM,  PRIMARY   DKSIGN. 

T4.  The  type  of  the  primary  2-Part  Song-form  (the  design 
out  of  which  it  is  evolved)  is  the  Double  period,  especially  that  of 
contrasting  construction,  in  which  the  continuity  insisted  upon  in 
par.  62  is  disturbed  by  a  cadential  break  in  the  center,  so  complete 
that  it  resolves  the  "  One-Part  "  Double-period  form  into  a  "  Tivo- 
Part  "  Song-form.  (See  pars.  66,  and  62.) 

Hence,  the  Primary  design  of  the  2-Part  Song-form  is  that  in 
which  each  Part  is  in  the  ordinary  Period-form,  with  or  without 
repetition. 

Examine  the  following  illustrations  of  this  Primary  design  scrupulously, 
testing  the  minutest  traits  as  they  may  be  borne  upon  by  the  conditions 
enumerated  in  paragraphs  71,  72  and  73 : 


Moderate. 


71. 


MAJOH.  Part  I. 


r^F^n; 


V 


g=j> -•->-«- 

I      !/   I 


V   *3) 


SICILIAN  HYMN.    (harm,  by  STARK 


n8 


TWO-PART    SONG-FORM,   PRIMARY    DESIGN. 


Par.  74. 


*i)  An  unusually  brief  (light)  Semicadence. 

*2)  This  is  a  complete  Tonic  Cadence  in  the  Dominant  key,  of  such 
weight  and  emphasis  as  totally  to  sever  all  purely  external  connection  between 
the  two  Periods,  which,  consequently,  represent  here  two  Parts.  (Compare 
par.  63^,  last  clause.) 

*3)  The  Second  Part  starts  out  from  the  Dominant,  while  Part  I  began 
upon  a  Tonic  basis. 

*4)  The  "consistent  opposition"  of  the  Parts,  mentioned  in  par.  73^,  is 
clearly  illustrated  here  by  the  rhythmic  form  of  this  first  measure,  which  cor- 
responds to  that  of  the  second  measure  in  Part  I.  Thus,  while  the  rhythmic 
figure  of  the  very  first  measure  of  the  Song-form  becomes  the  rhythmic  type  of 
Part  I,  that  of  the  second  measure  characterizes  the  greater  portion  of  Part 
II;  and  the  first  trvo  "measures"  constitute  the  rhythmic  germ  of  the  ttvo 
"  Parts  ".  This  is  consistent  Musical  Form. 

*5)  Here  the  Subdominant  inclination  of  the  Second  Part  (par.  73^)  mani- 
fests itself. 


Andante  sostenuto. 


72. 


E 


Part  II.   *2) 


Par.  75.  TWO-PART    SONG-FORM,   PRIMARY    DESIGN.  I 

MENDELSSOHN.    *3) 


*i)  A  complete  Tonic  Cadence  in  the  Relative  key;  see  par.  72^  (2). 

*2)  In  its  thematic  (melodic)  aspect  and  style,  this  Second  Part  closely  re- 
sembles its  First  Part.  But  "consistent  opposition"  is  nevertheless  obtained 
by  enlarging  the  owe-measure  Sequence  of  Part  I,  to  a  two-measure  Sequence 
In  Part  II. 

*3)  Theme  of  the  "  Variations  serieuses  ",  op.  54.  See  also  the  individual 
Variations,  which,  while  they  nearly  all  preserve  the  2-Part  design,  present 
many  instructive  modifications  in  the  treatment  of  the  Cadences;  viz.,  the 
Cadence  at  the  end  of  Part  I  is  always  bridged  over,  sometimes  reduced  to  a 
Semicadence,  and  is  therefore  more  vague  than  in  the  Theme, — especially  so 
in  Var.  i,  2,  6  and  13; — Var.  3,  4,  7,  9,  n,  12  and  14  all  approach  the  Double- 
period  form,  because  the  middle  Cadence  is  not  strong  enough  to  divide  the 
design  into  two  Parts; — Var.  10,  15,  16  and  17  approach  the  form  of  a  Group 
of  Phrases; — In  Var.  5,  8  and  16,  the  middle  Cadence  is  altered  to  a  different 
key; — In  Var.  14,  being  Major,  the  Dominant  (Semi-)  Cadence  is  used. 

See  also:  CHOPIN,  Mazurka  No.  50  (Peters  ed.)  first  32  measures  (each 
Part  repeated). 

BEETHOVEN,  9  Variations  in  A  major,  Theme  (by  PAISIELLO), — Second 
Part  repeated.  BEETHOVEN,  Symphony  No.  2,  Larghetto,  first  32  measures 
{each  Part  repeated). 

HAYDN,  Pfte.  Son.  No.  4  (Cotta  ed.),  Largo  (final  Cadence  on  Dominant, 
for  an  obvious  reason)  ;  Pfte.  Son.  No.  5  (Cotta  ed.),  Presto,  first  16  measures 
(two  complete  repetitions,  the  second  one  very  much  altered) ;  Pfte.  Son.  No.  7 
(Cotta  ed.),  Finale,  first  18  measures;  Pfte.  Son.  No.  n  (Cotta  ed.),  first  16 
measures;  Symphony  No.  9  (Peters  ed.),  Andante,  first  10  measures;  Sym- 
phony No.  6  (Peters  ed.),  Andante,  first  32  measures  (each  Part  repeated). 

SCHUMANN,  "  Bunte  Blatter",  op.  99,  No.  i  (Cadence  of  Part  I  some- 
what vague, — see  par.  93) ;  "  Waldscenen  ",  op.  82,  No.  7  ("  Vogel  als  Prophet ") 
first  18  measures  (Codetta  of  2  measures). 

BEETHOVEN,  Pfte.  Son.  op.  28,  "Trio"  of  3rd  Movement  (Part  I  repeated 
literally;  Part  II  repeated  with  modification;  melodic  relation  between  the 
Parts  unusually  close);  Pfte.  Son.  op.  57  (Appassionata),  Andante,  the  Theme, 
and  its  Variations  also. 


75.  -A   very    common, — almost    characteristic, — trait    of    the 
2-Part  Song-form,  exhibited  in  many  examples  in  musical  literature, 


120 


TWO-PART    SONG-FORM,    PRIMARY    DESIGN. 


Par.  75. 


consists  in  the  similarity  bct^veen  the  respective  endings  of  the  two 
Parts. 

Sometimes  the  resemblance  is  literal  (as  in  Ex.  73)  ;  sometimes 
the  endings  differ  only  in  key  (in  case  Part  I  does  not  close  in  the 
original  key, — as  Part  II  must]  ;  in  some  cases  there  is  only  a  gen- 
eral resemblance  ;  occasionally  the  coincidence  embraces  the  entire 
last  Phrase  of  each  Part ;  and  again,  on  the  contrary,  it  is  very 
brief. 

This  point  of  resemblance  between  the  endings  of  the  Parts  must  not  be 
confounded  with  that  essential  condition  of  parallelism  which  prevails  at  the 
beginning  of  each  Period  in  the  Double-period  form  (par.  64),  for  their  respec- 
tive influences  upon  the  formal  conception  are  precisely  opposite.  The  agree- 
ment at  the  beginning  confirms  and  supports  the  coherency  of  the  members ; 
while  the  agreement  of  the  endings,  on  the  contrary,  serves  to  emphasize  their 
separation,  inasmuch  as  the  central  cadence  thus  assumes  a  form  and  weight 
similar  to  that  of  the  final  cadence,  and  closes  its  Part  as  completely  as  the 
latter  does  the  entire  sentence. 

N.  B.  Very  particular  care  must  be  taken  to  limit  any  such  re- 
semblance as  this  strictly  to  the  ending  of  the  Parts,  and  to  repress 
the  tempting  inclination  to  introduce,  in  the  course  of  the  Second 
Part,  any  member  which  exactly  corroborates  the  beginning  of  the 
First  Part !  Such  a  feature  would  transform  the  imagined  2-Part 
form  into  some  variety  of  the  Three-Part  design.  See  par.  Si«. 

For  example  : 


73. 


t£ 


-aF~f-ail 


*- 


Part  II. 


EL          ^>_|a___a_gi:Fj=g=z=|: 


THE    DIMINUTIVE    TWO-PART    SONG-FORM. 


121 


E  =f 


*i)  This  is  the  comparatively  rare  termination  of  Part  I  with  a  perfect 
Cadence  in  the  original  key;  see  par.  72^  (3). 

*2)  The  Theme  of  8  Variations  in  Bh>  by  BEETHOVEN  (a  popular  German 
song).  The  parallel  endings  are  indicated  by  the  brackets.  See  also  the  indi- 
vidual Variations,  and  observe  to  what  extent  this  structural  feature  is  preserved 
in  some  of  them. 

See  also:  BEETHOVEN,  9  Variations  in  C  minor  (March  by  DRESSLER), 
Theme,  and  all  the  Variations  (resemblance  covers  the  entire  last  Phrase,  but 
involves  transposition). 

MOZART,  G  minor  Symphony,  Finale,  first  16  measures. 

EXERCISE   18. 

A.  Write  two  examples  of  the  2-Part  Song-form,  Primary  design,  in 
Major;  with  scrupulous  regard  to  the  details  of  structure  and  cadence  given 
in  par.  72  and  73. 

Use  some  variety  of  duple  time  for  one,  and  triple  time  for  the  other;  and 
choose  radically  different  style  and  tempo  for  each. 

REVIEW    THE     DIRECTIONS    GIVEN    IN    EXERCISE    9. 


B.  Write  two  examples  of  the  same  form  and  design  in  Minor,  observing 
all  the  above  directions;  in  one  instance  introducing  the  similarity  of  ending, 
explained  in  par.  75,  and  carefully  guarding  against  the  error  pointed  out  in 
the  final  clause. 


THE  DIMINUTIVE  TWO-PART  SONG-FORM. 

T6.  As  already  declared  in  par.  700,  it  is  possible  that  a  Part 
may  consist  of  no  more  than  one  single  Phrase,  and,  though 
naturally  rare,  such  examples  may  be  found. 

This  may  be  true  of  either  Part,  or  even,  though  still  more 
rarely,  of  both.  As  usual,  it  is  least  likely  to  occur  in  the  Second 
Part  (par.  730,  last  clause). 


122 


THE    DIMINUTIVE    TWO-PART    SONG-FORM. 


Par.  76. 


How  difficult  it  is  to  impart  sufficient  contents  to  a  single  Phrase,  and  to 
separate  it  so  positively  from  its  companion  as  to  establish  its  dignity  and  in- 
dependence as  an  adequate  "Part",  the  student  will  soon  discover.  Review 
par.  57,  second  clause,  and  par.  'job;  and  reflect  to  what  extent,  on  the  other 
hand,  the  continuity  of  Phrase-succession  is  maintained  as  One-Part  form  in 
some  of  the  given  illustrations  of  the  extended  Double  period,  the  Phrase- 
Group,  and  the  Quadruple  period. 


The  conditions  are  most  favorable  when  the  Phrase,  thus  made 
to  represent  an  entire  Part,  is  either  of  the  large  (S-measure)  species, 
or  broad  in  tempo  and  character  ;  when  it  has  a  very  firm  Cadence  ; 
and  when  it  is  repeated.  For  illustration  : 


A  ndante. 


74. 


i 


•*•       -& 


^5^ 


^t£^^=3==^=?~±E 

^    •  T-r-i  •» 


Part  II. 


Par.  77. 


THE    DIMINUTIVE    TWO-PART    SONG-FORM. 


*i)  This  is  an  unusual  example  of  the  2-Part  form,  each  Part  of  which  is 
only  a  4-measure  Phrase.  But  the  breadth  of  character  and  contents,  the  com- 
paratively moderate  tempo,  and  the  repetition  of  each  Part,  establish  the  form 
beyond  question.  (There  is  even  a  remote  possibility  of  assuming  the  Period- 
form,  instead  of  Phrase,  in  each  Part;  compare  par.  10.)  It  is  to  be  found  in 
BEETHOVEN'S  Pfte.  Son.  op.  27,  No.  i,  first  movement,  and  must  be  referred  to. 
The  illustration  here  given  covers  the  first  8  measures  (or  9,  with  the  second 
ending);  the  following  12  (13)  measures  illustrate  exactly  the  same  variety  of 
the  Diminutive  2-Part  Song-form,  the  repetition  of  Part  II  being  written  out, 
on  account  of  unessential  modifications ;  the  16  measures  which  follow  are  a 
recurrence  of  the  above  illustration,  but  -with  the  repetitions  -written  out  and 
modified;  these  are  succeeded  by  an  Allegro-Theme  (also  2-Part  form,  but 
"  irregular,"  because  the  repetition  of  its  Second  Part  is  "dissolved" — i.e. 
conducted,  as  Re-transition,  away  from  its  own  key  into  that  of  the  next 
Theme) ;  then  follows  another  recurrence  of  the  first  Theme,  with  still  other 
varieties  of  modified  repetition ;  a  Codetta  of  8  measures  concludes  the  move- 
ment. 

See  also:  BEETHOVEN,  Pfte.  Son.  op.  26,  second  movement,  "Trio" 
(Part  I  an  8-measure  Phrase;  Part  II  a  Period). — Pfte.  Son.  op.  79,  Andante, 
first  8  measures  (Part  I  a  Period,  Part  II  a  repeated  Phrase) ;  same  Sonata, 
Finale,  first  16  measures  (Part  II  a  repeated  Phrase). 

BEETHOVEN,  10  Variations  in  Bp  (SALIERI),  Theme  (Part  I  a  repeated 
Period,  with  peculiar  transformation  of  the  Dominant  Semicadence  into  a 
complete  Cadence  effect,  by  one  measure  of  extension  in  the  2d  ending; 
Part  II  only  a  Phrase,  but  extended);  sec  also  each  Variation  ( — of  Variation 
10,  only  the  first  45  measures). — BEETHOVEN,  Pfte.  Son.  op.  31,  No.  i,  Rondo, 
first  32  measures  (Part  II  a  repeated  Phrase;  the  entire  Song-form  repeated 
and  variated). 

SCHUMANN,  Jugend-Album,  op.  68,  No.  23  (Reiterstiick);  each  Part 
repeated  literally,  and  then  the  entire  Song-form  repeated,  with  modifications; 
a  long  Coda  follows. 

SCHUBERT  Songs,  "  Winterreise",  No.  5  ("  Der  Lindenbaum  "),  measures 
9-24  (Part  I  is  a  repeated  Phrase). 

CAREY,  "  God  save  the  King  " — (Part  I  a  6-measure  Phrase). 

77.  Reverting  to  par.  65,  which  review,  attention  must  here  again  be 
drawn  to  the  perplexing,  but  altogether  natural  and  essential,  points  of  exter- 
nal resemblance  between  different  denominations  of  formal  design.  The 


124  THE    DIMINUTIVE    TWO-PART    SONG-FORMS.  Par.  77. 

transitional  stages  from  each  one  into  the  next  higher,  or  larger,  species  are 
so  imperceptibly  graded,  that  positive  definition  becomes,  at  a  certain  stage, 
difficult  and  even  impossible, — but  also  unnecessary. 

Thus,  it  has  already  been  seen  (and  in  the  student's  subsequent  personal 
analysis  of  compositions,  many  further  proofs  will  be  encountered),  that  both 
the  Period-form  and  the  2-Part  Song-form  may  consist  of  two  Phrases;  that, 
by  inference,  the  extended  Period,  the  Double  period,  the  Phrase-Group  (not 
to  mention  the  unusual  designs  of  the  Period-Group  and  Quadruple  period) 
might  be  greater,  in  temporal  dimension,  than  some  specimens  of  the  structur- 
ally higher  graded  2-Part  Song-form  ;  that  the  external  resemblance  between 
a  Period  in  which  each  Phrase  is  repeated  (Ex.  51),  and  a  2-Part  Song-form  in 
which  each  Part  is  a  repeated  Phrase  (Ex.  74),  is  complete,  save  in  respect  of 
those  few  essential  conditions  upon  which  the  distinction  depends;  that  a 
contrasting  Double  period  can  often  scarcely  be  distinguished  from  a  2-Part 
Song-form  (see  BEETHOVEN,  24  Variations  in  A,  Theme) ;  and  so  forth. 

The  essential  distinction  between  the  "  One-Part"  forms  and  the  "  Two- 
(or  Three-)  Part "  forms  is  clearly  stated  in  par.  73^,  second  olause,  and  hinges 
mainly  upon  the  idea  of  Separation  (which  is  as  possible  among  kindred,  as 
among  foreign  members).  Hence  it  is,  that  the  repetition  of  either  Part 
serves  to  individualize  it  and  separate  it  from  its  fellow;  that  a  sufficiently 
pronounced  difference  in  character,  assumed  perhaps  abruptly,  will  have  the 
same  effect;  and  that,  finally,  simple  emphasis  of  Cadence  may  suffice,  even 
in  case  of  very  close  similarity  of  melody  and  style,  to  sever  the  Parts 
unmistakably.  See  also  par.  93. 


EXERCISE   19. 

A.  Analyze  the  following  (doubtful)  examples,  and  endeavor  to  deter- 
mine whether  the  form  is  Two-Part  or  One-Part,  and,  if  the  latter,  exactly  what 
species ;  pars.  93  and  104  may  be  referred  to  for  additional  clues : 

BEETHOVEN,  Pfte.  Son.  op.  10,  No.  i,  first  30  measures. — Pfte.  Son.  op. 
10,  No.  3, "  Trio"  of  Menuetto. — Pfte.  Son.  op.  13,  Finale,  first  17  measures. — 
Pfte.  Son.  op.  31,  No.  i,  first  30  measures. — Pfte.  Son.  op.  79,  first  24 
measures. 

MENDELSSOHN,  Caprice,  op.  16,  No.  i,  Andante  section. 

SCHUMANN,  Songs,  op.  24  ("  Liederkreis  "),  No.  8. 

GRIEG,  Lyric  Pieces,  op.  12,  No.  2,  measures  1-18. 


B.  Write  two  examples  of  the  Diminutive  2-Part  Song-form  (par.  76), 
one  in  major  and  one  In  minor;  one  in  Adagio,  the  other  in  Allegretto  tempo ; 
one  in  duple,  the  other  in  triple  time. 


Par.  79b.          THE    FULLY    DEVELOPED    TWO-PART    SONG-FORM.  12$ 


CHAPTER  X. 
THE  FULLY  DEVELOPED  TWO-PART  SONG-FORM. 

T8.  Here,  till  likelihood  of  a  misconception  of  the  form 
(touched  upon  in  par.  77)  is  precluded,  because  of  the  dimensions 
generally  reached,  and  the  consequent  opportunity,  and  even 
necessity,  of  more  distinctly  individualizing  and  separating  the  two 
Parts. 

The  conception  of  Part  I  will  not  differ  in  any  other  respect 
from  par.  72a,  6,  c  (which  review)  than  in  that  it  will  surely  never 
be  less  than  Period-design,  and  may  be  larger. 

But  the  structure  of  Part  II,  while  naturally  adhering  to  the 
conditions  defined  in  par.  73a»  ^»  c  (which  review),  will,  in  the 
fully  developed  form,  usually  be  more  elaborate  (longer,  and  with 
more  extensions)  than  in  the  smaller  varieties  explained  in  the 
preceding  chapter. 

The  designation  "  Fully  developed  "  may  be  construed  as  applying  to  all 
examples  of  the  2-Part  Song-form  in  which  each  Part  is  at  least  a  Period,  and 
to  some  degree  extended.  Commonly,  it  is  true,  wider  differentiation  of  the 
Parts,  in  favor  of  greater  length  and  independence  of  the  Second  Part,  will  be 
observed. 

T9a.  The  EXTENSION  of  the  Two-Part  Song-form  by  repe- 
tition of  either  Part,  or  of  each  Part,  or  of  the  entire  Song,  has 
already  been  indicated  in  the  text,  and  encountered  in  some  of  the 
quotations. 

The  "  Variations"  upon  a  2-Part  Theme,  cited  above,  may  be  regarded  as 
"  modified  repetitions  "  of  the  entire  Song-form ;  in  a  broader  sense,  however, 
than  the  pupil  should  undertake  to  exemplify  for  the  present. 

(b)  Besides  this  means  of  enlargement  and  development  (to 
which  may  be  added  all  the  other  ordinary  varieties  of  extension  in 
the  course  of  a  Phrase,  or  of  a  section  of  any  kind),  there  are  also 
those  adjuncts  of  a  more  external  nature,  represented  by 
the  Introductory  Phrase, 

the  Prelude,  \ 

the  Codetta  or  Coda,  and 
the  Postlude. 


126 


THE    FULLY    DEVELOPED    TWO-PART    SONG-FORM.          Par.  79c. 


(c)  It  is  only  necessary  to  remember  that  these  auxiliary  mem- 
bers become  more  and  more  desirable,  and  are  apt  to  assume 
greater  length,  the  larger  the  form  to  which  they  are  attached. 
Thus,  the  Introductory  member  of  a  2-  or  3-Part  Song-form,  will 
probably,  though  by  no  means  certainly,  be  longer,  and  perhaps 
more  independent,  than  that  of  a  One-Part  form. 

Review  pars.  44,  45;  and  see  MENDELSSOHN,  "Songs  without  Words", 
No.  6,  first  7  measures ;  No.  23,  first  6  measures.  In  both  of  these  cases  the 
Introduction  or  Prelude  takes  a  more  active  part  in  the  plan  of  the  whole,  than 
in  some  of  the  other  "  Songs  without  Words  "  to  which  reference  has  been 
made;  and  it  will  be  observed  that  they  recur  at  the  end,  as  Codetta  or 
Postlude. 

And,  furthermore,  the  comparatively  brief  "Codetta"  or 
Postlude  added  to  a  Period,  or  Double  period  (pars.  51,  52,  68a), 
becomes  sometimes  a  complete  "  Coda"  even  in  the  Two-Part  Song- 
form  ;  while  in  any  still  larger  form  this  enlargement  is  all  the 
more  probable. 

The  details  of  the  distinction  between  Codetta  and  Coda  are  given  at 
length  in  par.  98,  to  which  reference  may  be  made,  although  the  formation 
and  employment  of  the  Codetta  or  Postlude  must  yet  be  restricted  to  the 
directions  hitherto  given. 

Illustration  of  the  fully  developed  2-Part  Song-form  : 


Allegro. 


75. 


Par.  79c.         THE    FULLY    DEVELOPED    TWO-PART    SONG-FORM. 


JOH.  SEB.  BACH.   *1) 


— (— h-j — P — f  -»-1  *>- — 
^1    I     I       I     I 


n        H: 


— -  •*•      8-»-  __^.^      ^ —     *  •   -*•  -*- 


*i)  Gavotte  from  the  6th  French  Suite.  (The  present  author  is  respon- 
sible for  the  phrasing  and  marks  of  expression.)  Part  I  is  a  regular  parallel 
Period,  with  perfect  Cadence  in  the  Dominant  key,  according  to  the  rule. 
Part  II  is  a  Group  of  3  Phrases,  exhibiting  the  usual  traits  of  established 
form:  the  outset  upon  the  Dominant  harmony;  the  inclination  toward  the 
Subdominant  key  in  the  center,  and  again  near  the  end;  and  the  general  simi- 
larity between  the  respective  endings  of  the  two  Parts  (more  common,  by  the 
way,  in  older  than  in  modern  music). 


I2S         LARGE  TWO-PART  FORM,  AS  TYPE  OF  SONATINA-FORM.     Par.  80. 

See  also:  BEETHOVEN,  Bagatelle,  op.  119,  No.  8. — BEETHOVEN,  8  Vari- 
ations in  F  major  (SrssMAYR),  Theme;  33  Variations  in  C  major,  op.  120 
(DIABELLI),  Theme,  and  also  the  Variations  (each  Part  a  Double  period;  very 
similar  endings). 

MOZART,  Pfte.  Son.  No.  3  (Cotta  ed.),  Andanic,  first  20  measures 
(design  exactly  like  that  of  Ex.  75;  the  16  measures  which  follow  are  a  2-Part 
Song-form  of  Primary  design). 

HAYDN,  Pfte.  Son.  No.  8  (Cotta  ed.),  last  Movement,  "  Trio"  (here  Part 
I  is  the  larger  design  of  the  two,  being  a  Group  of  3  Phrases,  while  Part  II  is 
Period-form  ;  but  the  number  of  measures  is  equal). 

SCHUBERT,  Pfte.  Son.  No.  9,  Andantino,  first  32  measures  (an  extraordi- 
nary example;  Parti  a  Double  period;  Part  II  almost  identical  tvith  Part 
I  in  its  melody,  but  harmonized  chiefly  in  the  relative  key,  and  contracted, — 
by  which  means  it  sufficiently  establishes  its  identity  as  a  separate  Part;  a  com- 
plete repetition,  with  4  measures  of  Plaj;al  extension,  follows). 

CHOPIN,  Mazurka  No.  45  (op.  67,  No.  4),  first  32  measures  (each  Part 
repeated,  Part  II  literally;  Second  Part  a  Double  period). 

CHOPIN,  Nocturne  No.  10  (op.  32,  No.  2),  "  Piu  agitato'1''  (*/  time; 
Cadence  of  Part  I  very  vague,  but  sufficient,  under  the  circumstances ;  the 
entire  Song-form  is  sequentially  reproduced,  a  half-step  higher,  and  led  with- 
out cadence  into  the  following  section). 

More  elaborate  and  extended  illustrations  will  be  found  in  MENDELSSOHN, 
Scherzo  a  capriccio  in  F$  minor,  first  36  measures  (Part  I  a  little  longer  than 
II)  ;  the  ensuing  10  measures  are  a  Codetta,  repeated  and  extended;  and  the 
next  32  measures  are  again  in  the  2-Part  Song-form. — MENDELSSOHN,  "  Songs 
without  Words",  N<x__j£»— entire. — MENDELSSOHN,  op.  72,  No.  2,  entire 
(4-measure  Prelude  and  Postlude). — MENDELSSOHN,  Etude  in  a  minor,  op. 
104,  No.  3,  entire  (Part  I  an  extended  Double  period — possibly  Single  period  ; 
Part  II  Double  period,  or,  more  probably,  a  Group  of  4  Phrases,  No.  4 
reproduced,  Cadence  somewhat  vague  ;  Coda  13^  measures,  to  end). 

CHOPIN,  Mazurka  No.  25  (op.  33,  No.  4),  entire  section  up  to  signature  of 
5  sharps  (Part  I,  extended  Double  period,  repeated;  Part  II,  Period  with 
repeated  Antecedent  and  extended  Consequent;  entire  Song-form  repeated 
literally). 

BRAHMS,  op.  117,  No.  3,  first  tempo  (each  Part  a  slightly  expanded  Period  ; 
entire  Song-form  repeated,  with  modifications). 

SCHUBERT,  Impromptu,  op.  90,  No.  3,  first  48  measures  (Part  II  repeated); 
also  the  following  53  measures  (Part  I  has  a  4-measure  Codetta,  repeated). 

BACH,  Well-tempered  Clavichord,  Vol.  I,  Preludio  No.  8  (EJ7  minor), — 
Part  I,  a  group  of  4  regular  Phrases,  resembling  Double  period;  Part  II,  a 
Group  of  3  Phrases,  to  which  2  others  are  added,  after  a  striking  evasion  of 
the  expected  perfect  Cadence  (in  measure  29) ;  Codetta,  3%  measures. 

THE  LARGE  TWO-PART  FORM,  AS  TYPE  OF  THE  SONATINA-FORM. 

8O.     From     the    fully-developed    2-Part     Song- form,    of    the 
extent  exhibited  in  the  illustrations  last  cited,  it  is  only  one  further 


Par.SIa.  THE    THREE-PART    SONG-FORM.  129 

step  into  that  LARGE  2-PART  FORM  out  of  which  the  Sonatina- 
form  emerges,  and  to  which  the  latter  probably  owes  its  origin. 
The  demonstration  of  this  Higher  form  must  be  reserved  for  a  later 
volume,  as  the  student  is  not  yet  sufficiently  equipped  for  its  suc- 
cessful manipulation.  He  is  to  make  no  other  use  of  the  Large 
2-Part  Song-form  at  present  than  to  analyze  the  following  ex- 
amples. It  will  be  observed  that  each  Part  is  allied  to  the  Phrase- 
group  form,  usually  with  a  Codetta  ;  and  that  the  parallel  structure 
of  the  endings  (cited  in  par.  75, — Ex.  73)  generally  extends  over 
the  entire  secon-d  half  of  each  part, — often  more. 

See  HAYDN,  Pfte.  Son.  No.  3  (Cotta  ed.),  Larghetto;  Pfte.  Son.  No.  2 
{Cotta  ed.),  Adagio;  Pfte.  Son.  No.  n  (Cotta  ed.),  Adagio  (a  Coda  of  15  or 
16  measures  is  added). — DOMEXICO  SCARLATTI  (BOLow's  revision,  Peters  ed.), 
Suite  I,  "  Sarabande  "  (Part  I,  extended  Double  period;  Part  II,  group  of 
Phrases) ;  same  Suite,  "  Burlesca  ",  "  Menuetto  ",  "  Gigue  "  (with  brief  Coda), 
and  "Toccata". — HUMMEL,  Pfte.  Son.  No.  i  (op.  2),  Adagio  (brief  Coda). — 
J.  S.  BACH,  Well-tempered  Clavichord,  Vol.  II,  Preludio  No.  15  (G  major). — 
BRAHMS,  Intermezzo,  op.  76,  No.  3;  this  example  is  very  diminutive,  it  is 
true,  but  can  scarcely  be  assigned  to  any  other  class  of  forms  than  that  of  the 
"  embryo  Sonatina " ;  (Part  I,  10  measures,  Codetta  and  Retransition  5 
measures,  Part  II  similar) ;  it  approaches  the  "Large  Double  period"  with 
Codetta  to  each  Period. 

EXERCISE  20. 

A.  Write  two  examples  of  the  fully-developed  2-Part  Song-form;  one 
of  them  in  major  and  the  other  one  in  minor;  one  in  Andante,  the  other  in 
A llegro  tempo ;  one  in  duple,  and  the  other  in  triple  time;  the  second  one 
considerably  larger  than  the  first  one.  Add  a  Codetta  to  each.  Observe  the 
directions  given  in  par.  78. 

For  this  work,  one  of  the  Periods  invented  in  Exercise  9  might  be  utilized. 


B.  Write  a  third  example,  with  free  choice  of  all  conditions;  but  with 
either  an  Introductory  Phrase  or  a  Prelude,  and  either  a  Codetta  or  a  Post- 
lude. — Again,  some  former  Period-form  may  be  used. 


CHAPTER   XI. 

THE    THREE-PART    SONG-FORM. 

8  1  a.  The  ruling  principle  of  all  3-Part  (or,  as  they  are  often 
called,  tripartite]  Forms  is,  the  Return  to  the  Beginning,  or  to  the 
first  (or  principal)  thematic  section. 


13°  THE    THREE-PART    SONG-FORM.  Par.  81c. 

In  order  to  be  an  unmistakable  and  perfectly  genuine  RETURN", 
it  can  only  succeed  an  equally  genuine  and  positive  DEPARTURE  ; 
and  this  Departure  is  embodied  in  the  correspondingly  distinct 
Second  Part,  which  intervenes  between  Part  I  (the  definite 
STATEMENT)  and  Part  III  (the  RECURRENCE  of  the  Statement). 

(b)  This  specific  return  to  the  beginning,  or,  more  properly,  this  recur- 
rence of  the  first  thematic  member  as  a  distinctive  trait  of  the  3-Part  forms, 
must  not  be  confounded  with  those  examples  of  apparently  similar  recurrence 
that  have  been  seen  in  repetitions,  and  in  the  Period  and  Double  period  of 
parallel  construction.  For  instance,  in  Ex.  25  the  initial  melodic  member  is 
observed  to  recur  in  the  5th  measure;  but  this  initial  member  is  connected 
with  all  that  follows  during  4  measures,  exactly  as  in  the  preceding  4  measures, 
so  that  the  contents  of  measures  5,  etc.,  are  an  immediate  repetition  without 
any  intervening  digression  or  definite  Departure.  And  even  in  Ex.  31,  where 
there  is  an  intermediate  passage  between  the  first  Phrase  and  its  recurrence  as 
repetition,  it  is  merely  an  "  Interlude,"  with  none  of  the  elements  of  a 
"  Departure."  See  the  last  clause  of  par.  20. 

In  Ex.  46  the  recurrence,  in  measures  5,  etc.,  of  the  first  members  (con- 
tained in  measures  i  to  4)  is  again  an  immediate  reproduction,  not  separated 
by  an  intermediate  Departure.  The  same  is  the  case  in  Ex.  67,  though  there 
is  much  more  reason  for  misconception  here  than  in  the  smaller  examples, 
because  something  really  appears  to  intervene  between  the  first  melodic 
member  and  its  recurrence  in  measures  8,  etc. ;  but  this  intervening  section, 
while  it  is  an  entire  Phrase  (Phrase  2  of  the  parallel  Double  period),  is  un- 
interruptedly connected  with  the  first  Phrase,  and  does  not  constitute  that 
degree  of  "  genuine  and  positive  Departure  "  upon  which  the  "  Return  " 
depends,  as  distinctive  condition  of  the  3-Part  forms.  Here,  again,  it  is 
simply  a  question  whether  the  form  is  only  "  One-Part,"  or  more ;  and  the 
decision,  as  shown  in  par.  77,  depends  upon  the  degree  of  separation,  which 
either  is,  or  is  not,  sufficient  to  define  a  genuine  Departure.  Comparison  of 
the  above  example  (67)  with  Ex.  76,  where  the  interruption  is  complete,  will 
make  this  plain. 

(c)  The  influence  which  this  leading  principle  exerts  upon  the 
/conception  of  the  Second  Part,  is  obvious.  In  the  2-Part  forms, 
Part  II  was  found  to  be  a  coordinate  companion  to  Part  I,  carrying 
on  the  development  of  the  melodic  purpose  with  preponderant 
parallelism  of  design,  as  "  continuation  "  of  the  musical  sentence  ; 
and  keeping  the  perfect  cadence  of  the  original  key  in  view,  as 
final  aim. 

But  in  the  3-Part  forms,  on  the  contrary,  Part  II  is  not  so  much 
a  continuation  as  it  is  a  "digression";  it  is  not  coordinate  with 
Part  I,  and  the  idea  of  opposition  will  be  more  likely  to  predom- 
inate than  that  of  parallelism ;  it  is  not  a  Jinal,  but  an  inter- 


Par.  83a.  THE    THREE-PART    PERIOD.  13! 

mediate  section  of  the  form,  and  does  not  tend  to  a  point  of  rest, 
but  strives  (from  the  moment  when  its  identity  as  "Departure" 
has  been  assured)  to  regain,  or  lead  back  into,  the  original  melodic 
current,  i.  e.,  to  prepare  for  the  recurrence  of  Part  I.  See  pars.  87 
and  88. 

THE    THREE-PART  PERIOD. 

82.  The  embryo  of  the  3-Part  Song-form  is  a  diminutive 
design,  \vhich  embodies  all  the  essential  conditions  of  the  fully 
developed  form,  and  for  which  the  term  THREE-PART  PERIOD 
seems  most  appropriate.* 

It  bears  the  same  proportion  to  the  full  3-Part  Song-form,  that 
Ex.  74  does  to  the  full  2-Part  Song-form,  inasmuch  as  each  of  its 
three  sections  is  only  a  Phrase.  The  feasibility  of  this  diminutive 
design  is  indirectly  demonstrated  in  par.  76,  which  review. 

The  designation  "Period"  instead  of  "Song-form",  though  somewhat 
inconsistent,  is  justified  by  the  resemblance  of  this  form  to  the  different  varie- 
ties of  Periods  extended  to  the  sum  of  three  Phrases  (i.  e.,  Period  with  Conse- 
quent repeated,  or  Consequent-group;  Period  with  Antecedent  repeated,  or 
Antecedent-group),  in  each  of  which  a  reduction  of  the  three  Phrases  to  two  is 
possible.  The  impossibility  of  such  a  reduction  in  the  "Phrase-group"  is 
the  very  reason  why  the  latter  could  not  be  spoken  of  as  a  "  Period  "  (Ex.  63, 
note  *4)). 

83a.  Ill  the  genuine  3-Part  Period  (as  type  of  the  corre- 
sponding Song-form)  the  First  Phrase  ends  with  a  perfect  cadence, 
either  in  the  original  key,  or  in  some  next-related  key ;  and  it  is 
generally  repeated. 

The  Second  Phrase  ends,  as  a  rule,  upon  the  Dominant  har- 
mony, because  that  is  the  most  favorable  point  from  which  to  regain 
the  Tonic  harmony  with  which  the  first  Phrase  (presumably)  began. 
Phrase  II  is  not  repeated  alone,  as  a  rule. 

The  Third  Phrase  is  a  more  or  less  exact  reproduction  or  re- 
currence of  Phrase  I.  At  least  tfi&jirst  member  should  thematically 
corroborate  that  of  the  first  Phrase.  Phrase  III  is  not  repeated 
alone,  but  Phrases  II  and  III  are  frequently  repeated  together. 

For  example  : 


*The  designation  "  Diminutive  s-Part  Song-form  "  might  seem  more  appropriate  than 
"3-Part  Period",  from  analogy  with  par.  76.  But  the  latter  is,  for  valid  reasons,  never- 
theless the  preferable  term.  See  Ex.  76,  Note  *i). 


THE    THREE-PART    PERIOD. 


Par.  83a. 


Lento. 


76. 


Phrase  I.  P 


•nrase  i.  p  .  i^ 

***=£       =r=±^- 


Phrase  IL 


cj^tr— g-g»— «^-^qq^5^^=^^F-IN:::^--^f--i-^^ 

b \    i     I  -LJ      K    ?    ^        c^D    r""^'***! 


*i)  The  weight  of  this  perfect  cadence  is  sufficient  to  detach  the  Phrase 
positively  from  those  which  follow,  and  to  make  it  as  completely  a  Part  as  is 
the  case  with  the  first  Phrase  in  Ex.  74.  This  betrays  the  sole  comparative 
inconsistency  of  the  term  3-Part  Period,  to  which  reference  has  been  made. 

*2)  The  cadence  of  Phrase  II  is  made  at  this  point,  upon  the  Dominant 
harmony,  and  is  so  bridged  over  as  to  lead  without  the  slightest  check  (almost 
like  an  Introduction)  into  the  initial  motive  of  Phrase  I, —  now  Phrase  III. 


Par.  83b. 


THE    THREE-PART    PERIOD. 


'33 


*3)  The  first  ending  of  Phrase  III  (which  is  a  literal  recurrence  of  Phrase  I) 
is  as  conclusive  as  at  first ; 

*4)  but  in  the  second  ending  the  perfect  cadence  is  evaded,  and  spun  out, 
in  Chain-phrase  formation,  into  what,  for  convenience,  may  be  called  a  Codetta. 

See  also:  SCHUMANN,  "Album-Blatter",  op.  124,  No.  2  and  No.  9  (con- 
taining all  the  repetitions). 

SCHUMANN,  "  Jugend-Album  "  op.  68,  No.  i  (all  the  repetitions) ;  No.  10, 
F  major  (Phrase  II  only  2  measures;  all  repetitions);  No.  17,  A  major 
(Phrase  III  modified  and  extended  ;  Codetta,  9  measures). 

BEETHOVEN,  Bagatelle,  op.  33,  No.  4,  first  16  measures  (all  legitimate 
repetitions)  ;  Bagatelle,  op.  33,  No.  6,  first  20  measures  (Phrase  III  is  repeated 
alone,  like  Phrase  I,  before  the  repetition  of  Phrases  II  and  III  together  begins). 

BEETHOVEN,  Pfte.  Son.  op.  2,  No.  2,  the  "Trio"  of  the  3rd  movement 
(8-measure  Phrases). 

HAYDN,  Pfte.  Son.  No.  12  (Cotta  ed.),  Presto,  measures  25 — 44  (Phrase  I 
repeated ;  Phrase  III  modified,  and  extended  to  8  measures). 

CHOPIN,  Nocturne  No.  16  (op.  55,  No.  2)  first  12  measures  (a  superb  illustra- 
tion ;  Phrase  II  closes  with  decided  cadence  upon  the  Dominant  of  the  relative 
key,  and  the  remainder  of  the  measure, — the  8th, — is  retransitional  "  bridging  " 
of  the  cadence-measure  ;  the  first  measure  of  Phrase  III  is  a  somewhat  disguised 
recurrence  of  the  beginning,  but  unmistakably  the  same  member;  and  the  rest 
of  the  Phrase  is  a  correspondingly  ingenious  ornamentation  of  Phrase  I). 

CHOPIN,  Mazurka  No.  4  (op.  6,  No.  4),  each  Phrase  repeated — even  the 
Second  one  ;  CHOPIN,  Mazurka  No.  9  (op.  7,  No.  5),  each  Phrase  repeated; 
Phrase  II  a  simple  transposition  of  Phrase  I  into  the  Dominant  key;  Phrase 
III  a  literal  "  da  capo,"  and,  as  expressly  stated,  running  on  "without  end." 

(  b)  Other,  more  irregular,  varieties  of  the  3-Part  Period  afford 
perhaps  greater  justification  of  the  denomination  "Period,'"  but 
resemble  the  genuine  3-Part  forms  all  the  less.  In  all  of  these  cases, 
it  is  true,  the  Third  Phrase  is  substantially  the  same  as  the  First 
one,  but  the  condition  of  the  cadences  does  not  conform  to  the 
rules  given  in  par.  83^.  For  illustration  : 

Moderate. 


77, 


134  THK    THREE-PART    PERIOD.  Par.  83b. 

*i)  The  First  Phrase  closes,  irregularly,  with  an  imperfect  cadence  (the 
chord-third  in  Soprano) ;  but  it  is  of  ample  weight  to  define  the  termination  of 
its  Phrase,  and  it  will  be  observed  that  the  same  imperfect  cadence  recurs 
at  the  very  end, — a  peculiarity  of  certain  Folk-melodies. 

*2)  This  cadence  is  exactly  the  same  as  that  of  Phrase  I ;  therefore  it 
furnishes  no  sufficient  proof  of  the  qualities  which  identify  the  "  Second 
Phrase"  of  a  tripartite  form,  and  even  seriously  disturbs  the  coherent  connec- 
tion with,  and  impulse  into,  the  Third  Phrase  (par.  83^).  But,  notwithstanding 
this  default  in  its  preparation,  Phrase  III  is  clearly  recognizable  as  a  Recurrence 
of  Phrase  I,  chiefly  because  of  its  distinct  rhythmic  character. 

See  also  :  SCHUMANN,  "  Jugend-Album  "  op.  68,  No.  19,  a  minor  (Phrase  I 
closes  with  a  Dominant  semicadencc;  Phrase  II  is  only  2  measures  long;  the 
beginning  of  Phr.  Ill  is  disguised;  all  the  legitimate  repetitions  occur);  No. 
38 — "  Winterzeit,  I." — (Phrase  I  ends  with  a  semicadencc ;  Phr.  Ill  considerably 
altered  in  its  second  half;  all  repetitions). — SCHUMANN,  "Album-Blatter"  op. 
124,  No.  13  (instead  of  repetition,  Phrase  I  is  reproduced  as  sequence ;  Phr.  II 
closes  with  the  same  imperfect  Tonic  cadence  seen  in  Example  77  ;  Phr.  Ill  is 
an  extended  Recurrence  of  Phrase  I).  In  this  case  the  designation  Phrase- 
Group  would  be  admissible,  and  doubtless  even  more  accurate. 

CHOPIN,  Nocturne  No.  7  (op.  27,  No.  i),  first  26  (28)  measures.  Each 
Phrase  is  repeated,  even  the  Second  one,  alone.  The  repetition  of  Phr.  I 
closes  with  an  expansion  of  the  penultimate  cad. -chord,  and  is  interlocked 
with  the  beginning  of  Phr.  II  by  an  Elision;  Phr.  II,  and  its  repetition,  end 
with  a  full  cad.  upon  the  Tonic  of  the  original  key !  This  almost  totally  severs 
its  connection  with  Phrase  III,  which  consequently,  though  an  almost  exact 
reproduction  of  Phr.  I,  assumes  rather  the  character  of  a  Coda.  To  this 
example,  also,  the  conditions  of  the  Group  of  Phrases,  given  in  par.  58,  appear 
to  apply  more  exactly  than  do  those  of  the  3-Part  Period. 

BRAHMS,  op.  118,  No.  4,  first  16  measures  (closes  with  semicadence  ;  Phr.  2 
extended). 

These  more  irregular  examples  all  point  to  the  fact  that  the  similarity 
between  Phrase  III  and  Phrase  I,  while  corroborating  the  ruling  principle  of 
the  3-Part  designs,  is  not  enough,  in  itself,  to  establish  the  legitimate  "  3-Part 
form."  For  instance,  this  very  likeness  appears  plainly  in  the  parallel 
"  Double  period,"  as  emphasized  in  par.  8i/>.  It  is  only  when  associated  with 
other  characteristic  conditions,  that  this  structural  trait  becomes  a  perfectly 
valid  factor  of  the  tripartite  design.  And  it  must  be  remembered,  that  it  is 
only  because  the  absence  of  these  other  conditions  is  more  easily  accounted  for 
and  excused  in  smaller  designs,  where  quick  comparison  is  possible,  that  such 
irregular  and  almost  indefinable  forms  as  those  last  cited  can  exist.  In  the 
fully  developed  3-Part  forms  there  is  far  less  likelihood  of  such  confusing 
irregularities,  and  therefore  the  "  Return  to  the  beginning"  may  be  accepted 
as  an  unfailing  proof  of  the  identity  of  the  forms  under  present  consideration. 

EXERCISE  21. 

A.  Write  two  examples  of  the  regular  3-Part  Period,  one  in  major  and 
one  in  minor;  choosing  a  different  time,  tempo  and  character  for  each ;  and 
adhering  strictly  to  the  directions  given  in  par.  83*1. 


Par.  84b.      THK   INCIPIENT  GRADE  OF  THE  3-PART  SONG-FORM.  135 

For  this  exercise,  choice  may  be  made  among  the  Phrases  invented  in 
Exercises  i  and  2. 

B.  Write  a  third  example,  with  modified  repetitions  as  prescribed  in  the 
legitimate  design?;  and  with  a  partial  change  in  the  formation  of  Phrase  III 
(as  compared  with  Phrase  I);  also  add  a  Codetta. 


THK   INCIPIENT  GRADE  OF  TUP:  3-PART  SONG-FORM. 

84-a.  In  this  design  the  First  Part  is  at  least  u  full  Period, 
while  Parts  II  and  III  each  still  adhere  to  the  diminutive  form 
of  the  Phrase.  The  term  "  Song-form"  must  be  adopted,  because, 
as  soon  us  any  one  of  the  three  sections  assumes  the  Period-form,  it 
becomes  a  full  "  Part,"  and  it  is  no  longer  consistent  to  speak  of  the 
TV 'hole  as  a  3-Part  "  Period." 

(b)  In  its  details,  the  Incipient  3-Part  Song-form  corresponds 
to  the  schedule  given  in  par.  83^,  only  excepting  the  enlargement  of 
Part  I,  cited  above  ;  namely  : 

Part  I  is  a  Period,  of  any  variety,  (possibly,  though  rarely, 
anything  larger,)  and  with  a  complete  Tonic  cadence  in  the  original 
key,  or  in  the  Dominant  key  (if  major),  or  Relative  key  (if  minor), 
or  perhaps  in  some  other  related  key. 

Part  II  is  only  a  Phrase  (possibly  extended),  with  a  very  definite 
Dominant  cadence  that  strongly  suggests,  and  leads  into,  the  first 
thematic  member  of  the  First  Part. 

Part  III  also  is  only  a  Phrase ;  therefore  it  is  not  a  complete 
Recurrence  of  Part  /,  and  discrimination  must  be  exercised,  that, 
in  thus  abbreviating  the  contents  of  the  First  Part,  the  ruling  con- 
dition of  tripartite  form  be  not  sacrificed  :  Under  all  circumstances 
Part  III  must,  at  its  beginning,  distinctly  confirm  THE  BEGINNING 
OF  PART  I.  If  Part  I  be  a  Period  of  parallel  construction,  Part  III 
may  appear  to  be  a  recurrence  of  the  second  Phrase  of  Part  I, 
inasmuch  as  the  beginning  of  that  Phrase  will  then  correspond 
to  the  beginning  of  the  whole.  But  if  Part  I  be  a  period  of  con- 
trasting construction,  then  Part  III  must  corroborate  the  first  Phrase 
(partly  or  entirely),  and  may  not  resemble  the  second  Phrase  at  all. 
It  is  not  necessary  to  specify  just  how  much  of  Part  III  may  or  must 
be  derived  from  the  First  Part ;  but,  as  a  rule,  at  least  one  full 
measure,  or  one  complete  melodic  member,  should  agree  with  the 
initial  measure  or  member  of  Part  I.  The  remainder  of  Part  III 
will  be  dictated  by  the  course  of  the  "  highway  to  the  perfect 
cadence  "  (defined  in  paragraphs  6  and  7).  For  example  : 


136  THE  INCIPIENT  GRADE  OF  THE  ^-PAKT  SONG-FORM.       Par.  84b. 


Grazioso. 
Part  I.  (Period). 


-p_i-»-f^    m  I   I         -^ 


Part  II.  (Phrase). 

ii  r>T 


>5 


— 


4- 


-x — 


fe 


r 


^c^c: 

->H — | — I •- 


Par.  84b.      THE  INCIPIENT  GRADE  OF  THE  3-PART  SONG-FORM.  I 

BEETHOVEN.   *1) 

id: 


*i)  Pianof.  Sonata  op.  2,  No.  2,  Finale.  Part  I  is  a  parallel  Period,  with 
a  very  striking  initial  member,  the  recurrence  of  which  is  therefore  quickly 
recognizable.  It  closes  with  a  perf.  cad.  in  the  Dominant  key.  The  Second 
Part  is  in  reality  only  a  2-measure  Phrase,  made  four  by  repetition.  Part  III 
appears,  at  first  glance,  to  be  a  recurrence  of  the  second  Phrase  of  Part  I, 
but  on  closer  examination  it  proves  to  be  much  more  nearly  identical  with  the 
first  Phrase, — excepting,  of  course,  that  it  terminates  with  the  regular  perfect 
cadence.  But  even  if  it  did  resemble  the  2nd  Phrase  more  than  the  ist,  the 
"  Return  to  the  initial  member"  would  be  unmistakably  defined;  and  the  two 
Phrases  of  Part  I,  constituting  a  parallel  Period,  represent  in  total  substance 
but  little  more  than  one  Phrase,  anyway. 

See  BEETHOVEN,  the  same  Sonata  (op.  2,  No.  2),  Largo,  the  first  19 
measures.  Here  the  derivation  of  Part  III  from  the  first  Phrase  of  Part  I 
is  indisputable,  for  the  construction  of  the  latter  is  chiefly  contrasting.  Part  II 
ends  with  the  usual  Dominant  cadence,  and  the  cadence-measure  is  so  bridged 
over  as  to  lead  very  smoothly  into  the  initial  member.  Part  III  is  extended  to 
7  measures,  but  remains  a  "Phrase"  in  form. 

In  BEETHOVEN,  Pfte.  Son.  op.  7,  Finale,  first  16  measures,  the  resemblance 
of  Part  III  to  the  second  Phrase  of  Part  I  is  stronger.  But  there  is  no  doubt 
that  the  impression  conveyed  is  that  of  a  "  Return  to  the  initial  member." 
With  this  idea  established,  there  is  no  danger  of  confounding  the  Incipient 
3- fart  form  -with  that  variety  of  the  2-Part  form  in  ivhich  the  Parts  have 
onl\  a  similar  ending.  See  Ex.  73,  and  the  N.  B.  immediately  preceding  it. 

See  further:  BEETHOVEN,  Pfte.  Son.  op.  14,  No.  2,  Andante,  first  16  meas- 
ures (Part  III  corroborates  the  first  Phrase  of  Part  I,  excepting  the  Cadence; 
a  Codetta  of  4  measures  follows). — BEETHOVEN,  Pfte.  Son.  op.  49,  No.  i, 
finale,  first  16  measures  (Part  III  is  an  almost  exact  copy  of  the  second  Phrase 
of  Part  I,  but  the  construction  of  the  latter  is  parallel). — BEETHOVEN,  Pfte. 
Son.  op.  2,  No.  i,  Adagio,  first  16  measures  (a  misleading  example,  open  to 
difference  of  opinion;  Part  III  is  the  corroboration  of  the  initial  member, 
in  a  disguised — though  by  no  means  unrecognizable — form). — A  still  more 
questionable  example  is  BEETHOVEN,  Pfte.  Son.  op.  22,  minore  of  the  Menuetto  ; 
this  is  very  probably  2-Part  Song-form. — Further,  BEETHOVEN,  Bagatelle, 
°P-  33>  No.  3,  first  16  measures  (a  very  clear  illustration);  Bagatelle,  op.  119, 
No.  4. 

SCHUBERT,  Impromptu,  op.  142,  No.  3,  Theme. 


138  THE   INCIPIENT  GRADE  OF  TIIK  ^-i'AKT  SONG-FOKM.      Par.  84b. 

MOZART,  Pfte.  Son.  15  (Cotta  ed.),  Theme  of  last  Movement;  see  also  the 
several  variations. — MOZART,  Pfte.  Son.  9  (Cotta),  Theme  of  first  Movement; 
here  Part  III  almost  exactly  resembles  the  second  Phrase  of  Part  I — with  an 
extension  of  2  measures, — and  represents,  therefore,  what  might  be  regarded 
as  the  more  questionable  class  of  Incipient  3-Part  Song-forms.  What  Mozart's 
own  conception  of  the  "Idea"  was,  is  however  manifested  in  the  succeeding 
variations,  in  all  but  one  of  which  the  resemblance  of  Part  III  to  the  first 
Phrase  is  very  close,  to  the  exclusion  of  all  but  an  allusion  to  the  style  of  the 
second  Phrase,  in  the  added  Extension. — MOZART,  Fantasie  and  Sonata  in 
C  minor  (Cotta  ed.  No.  18),  Andantino,  entire;  all  the  legitimate  repetitions 
are  made,  but  written  out  and  variated. 

HAYDN,  Pfte.  Son.  No.  4  (Cotta  ed.),  Finale,  measures  21-40  (Parts  II  and 
III  each  extended  to  6  measures) ;  Pfte.  Son.  No.  8  (Cotta),  Schcrzando,  first 
16  measures. 

GRIEG,  Lyric  Pieces  op.  12,  No.  3,  first  16  measures  (followed  by  repetition 
of  Parts  II  and  III). — GRIEG,  Ballade  op.  24,  Theme. 

CHOPIN,  Nocturne  No.  i  (op.  9,  No.  i)  measures  19-50;  this  example, 
(which  contains  all  the  repetitions),  is  again,  on  account  of  far  more  striking 
likeness  of  Part  III  to  the  second  Phrase  of  Part  I,  one  of  the  doubtful  class; 
the  evidence  of  a  "  Return  to  the  beginning"  is,  however,  sufficiently  striking 
to  define  the  tripartite  design.  The  same  is  true  of  Nocturne  10  (op.  32,  No.  2), 
first  18  measures  (2-measure  Prelude).  In  par.  100  may  be  found  another 
possible  classification  of  these  two,  and  all  similar,  examples.* 

*The  classification  of  Ex.  78  (and  the  illustrations  in  the  additional  refer- 
ences) among  the  3-Part  forms,  differs  from  the  analysis  hitherto  adopted  by 
other  writers,  who  rank  them  among  the  Two-Part  forms.  Though  this  is  not 
the  only  question  upon  which  the  present  author  holds  a  different  opinion 
from  that  of  other  theorists,  it  is  the  only  one  to  which  a  few  words  of  defence 
are  devoted.  It  appears  obvious,  from  the  great  diversity  of  dimensions  that 
the  pupil  has  already  observed  to  exist  within  one  and  the  same  structural 
design,  and  from  the  confusing  similarity  of  size  often  attending  entirely  dif- 
ferent forms,  that  dimension  and  proportion  alone  cannot  be  reliable  criteria, 
and  that,  therefore,  the  classification  of  the  various  designs  must  depend  rather 
upon  the  idea  embodied  in  them.  For  this  reason  a  distinction  appears  to  be 
necessary  between  the  SECTIONS  of  a  form  (which  are  the  more  mechanical 
divisions),  and  the  PARTS  (which  are  the  ideal  divisions).  In  every  3-Part 
Song-form  a  division  into  ftvo  sections  will  be  observed,  the  first  of  which  agrees 
with  the  first  Part,  while  the  2nd  section  embraces  both  Parts  II  and  III,  which 
are  so  inter-dependent  in  the  "idea"  of  the  tripartite  form,  that  their  separa- 
tion would  violate  its  chief  condition.  The  mere  accident  that,  in  the  above 
Example  (78),  this  2nd  section, — Parts  II  and  III, — is  precisely  the  same  size 
as  the  first  section,  is  not  sufficient  proof  of  the  2-Partform;  for  "  Section  " 
and  "  Part "  are  not  the  same  unless  they  are  identical  in  the  idea  they  embody. 
If  it  be  contended  that  the  single  Phrase  is  not  enough  to  represent  a  Second 
Part,  proof  to  the  contrary  may  be  found  in  BEETHOVEN,  Pfte.  Son.  op.  49, 
No.  2,  Finale,  first  20  measures ;  HAYDN,  Pfte.  Son.  No  12  (Cotta  ed.),  Finale, 
first  24  measures;  each  of  these  is  a  full  3-Part  Song-torm,  in  which  Part  II  is 


Par.  85.  THE  ORDINARY  COMPLETE  J-PART   SONG-FORM.  139 

(c)  How  easily  the  Incipient  3-Part  Song-form  may  be  evolved 
out  of  the  3-Part  Period,  is  seen  in  such  examples  as  BEETHOVEN, 
Bagatelle  op.  33,  Nos.  4  and  6  (both  cited  after  Ex.  76  as  illustra- 
tions of  the  3-Part  Period),  in  which  the  modified  repetition  of 
the  Phrase  that  constitutes  Part  I,  is  so  seductively  suggestive  of  the 
parallel  Period;  especially  in  No.  6,  where  Part  III  reproduces 
this  repetition;  and  still  more  so  in  Bagatelle  op.  33,  No.  i,  in 
which,  besides  this  same  misleading  trait  of  Parts  I  and  III,  the 
Second  Part,  while  only  a  Phrase,  is  extended  by  repetition  and 
other  means  to  the  length  of  no  less  than  16  measures.  Thus  these 
examples,  while  actually  only  3-Part  Periods,  assume  the  external 
appearance  and  dimensions  of  the  broader  Song-form. 


EXERCISE  22. 

Write  two  examples  of  the  Incipient  3-Part  Song-form;  one  in  major  and 
the  other  in  minor;  observing  the  directions  given  in  par.  84$. 

In  the  first  one,  construct  Part  I  as  parallel  Period ;  in  the  other,  as 
contrasting  Period. 

CHAPTER   XII. 

THE  ORDINARY  COMPLETE  3-PART  SONG-FORM. 
85.      In  this  species,  Part   I  is  at  least  Period-form;  Part  II 
generally  also  at  least  a  Period ;  and  Part  III  is  a  nearly  or  quite 
literal   Recurrence    of   Part   I.     The   details   of   the   design   are   as 
follows  : 

only  a  Phrase,  but  nevertheless  a  perfectly  distinct  "  Departure."  The  idea 
of  all  bipartite  forms  is  solely  that  of  thesis  and  antithesis ;  the  simple  opposi- 
tion of  Question  and  Reply,  or  Statement  and  Counter-statement,  be  it  upon 
parallel  or  upon  contrasting  lines.  This  has  been  found  thus  far  in  the  Period, 
Double  period,  and  in  the  2-Part  Song-forms  exhibited  in  Exs.  71,  72,  73,  74 
and  75.  In  Ex.  78,  though  it  corresponds  in  external  appearance  to  Ex.  71,  72 
and  73,  there  is  something  more  than  this ;  there  is  the  tliree-lo\&  idea  of 
Statement,  Departure  and  Recurrence ;  on  a  smaller  scale,  it  is  true,  than 
in  the  examples  which  are  to  follow,  but  just  as  genuine  and  unmistakable  as 
in  any  full-fledged  3-Pa/t  Song-form,  or  Rondo,  or  even  Sonata-a/leffro,  for 
that  matter.  The  presence  of  this  idea  has  led  the  present  author  to  classify 
these  examples  among  the  3-Part  forms,  with  no  more  than  the  just  reserva- 
tion indicated  by  the  term  "Incipient  Grade";  and  his  experience,  during 
many  years'  teaching,  of  the  readiness  of  the  pupil  to  grasp  and  apply  this 
distinction  in  the  work  of  analysis,  testifies  to  its  convenience  and  to  more 
absolute  reliability  than  can  be  secured  in  many  other,  far  more  perplexing, 
phases  of  Form-evolution. 


140 


THEMATIC    CONDITIONS    OF    PART    II. 


Par.  87a. 


THE  FIRST  PART. 

86a.  The  First  Part  of  the  tripartite  form  will  not  differ 
in  any  essential  respect  from  the  First  Part  of  a  bipartite  design. 
Therefore  the  details  given  in  par.  J2a,  3,  and  c  apply  here,  and 
must  be  carefully  reviewed. 


The  length  of  Part  I  should  be  taken  into  consideration,  and  deter- 
mined if  possible  beforehand,  in  proportion  to  the  probable,  or  intended, 
extent  of  the  entire  Song-form.  As  already  stated,  Part  I  should  be,  as  a 
rule,  a  brief,  simple,  clear  Statement.  A  long  First  Part  involves  either  the 
necessity  of  extreme  length  of  the  whole  Song-form,  or  the  defect  of  top- 
heaviness.  A  glance  at  MENDELSSOHN,  "Song  without  Words"  No.  9,  and 
then  No.  10,  makes  this  sufficiently  plain. 

THE  SECOND  PART  ;    THEMATIC  CONDITIONS. 

87.  On  the  contrary,  the  Second  Part  of  a  tripartite  design 
differs  essentially  from  Part  II  of  a  bipartite  form.  See  par.  8ic. 
The  distinction  tends  to  lower  the  rank,  melodic  importance  and 
structural  independence  of  the  Second  Part,  but  by  no  means 
to  the  exclusion  of  striking  individual  qualities. 

Close  FORMATIVE  RELATION  to  its  First  Part  (in  regard  to 
style  and  general  character)  should  be  strictly  maintained.  Review 
par.  73<£.  But  considerable  freedom  may  be  exercised  in  its  melodic 
delineation,  which  may  be  suggested  entirely,  or  in  part,  by  the 
melodic  design  of  Part  I,  or  may  be  entirely  independent  of  the  latter, 
especially  when  similarity  of  style  and  character  is  preserved. 

Illustrations  of  various  phases  of  thematic  relation  follow  :  — 

(a)  First,  almost  total  agreement  between  Parts  II  and  I  : 


Con  moto. 


N  B. 


Part  I.   Phrase  1. 


X.  B. 


Phrase  2. 


*  ^  :«£V-— »-^£— 


Phrase  4. 


Par.  87b. 


THEMATIC    CONDITIONS    OF    PART    II. 


*i)  "Song  without  Words"  No.  13;  see  Original.  The  ist  Phrase  of 
Part  II  is  an  exact  transposition  of  Phr.  i  of  the  First  Part;  the  2nd  Phrase 
(Part  II)  is  borrowed  similarly  from  Phr.  5  of  Part  I;  Phrase  3  (Part  II)  is 
also  derived  from  the  latter,  but  contains,  besides,  a  new  and  rhythmically 
characteristic  member. — The  Second  Part  is  simply  a  Sequence,  or  transposed 
reproduction,  of  Part  I,  in  SCHUMANN,  Jugend-Album,  op.  68,  Nos.  3  and  8; 
and  mainly  the  same  in  BEETHOVEN,  Pfte.  Son.  op.  26,  Marcia  funebre. — In 
SCHUBERT,  Impromptu  op.  142,  No.  2,  "Trio,"  the  Second  Part  corresponds 
almost  exactly  to  Part  I,  for  a  few  measures,  but  transposed  to  the  minor  mode. 
— CHOPIN,  Mazurka  No.  51,  meas.  1-32. — In  MENDELSSOHN,  "  Song  without 
Words  "  No.  42,  the  melody  of  Part  I  is  reproduced  in  Part  II,  Phrase  for 
Phrase,  in  variously  transposed  and  somewhat  modified  form,  and  is  extended 
by  the  reproduction  of  the  last  Phrase.* — See  also  No.  12,  in  which,  again, 
every  figure  of  Part  II  can  be  traced  back  to  the  First  Part. — Also  Nos.  39,  36, 
20,  and  10,  where  the  thematic  derivation  of  Part  II  from  Part  I  can  easily  be 
traced.  See  also  Ex.  72,  note  *2). 

(b)   Secondly,  Part  II  derived  from  secondary  members  of  the 
First  Part  : 


8O. 


*In  using  these  references,  and  those  which  follow  in  this  paragraph,  the 
pupil  must  examine  no  more  at  present  than  Parts  I  and  II,  and  only  those 
points  of  the  latter  which  reveal  its  thematic  relation  to  the  First  Part. 


I42 


THEMATIC    CONDITIONS    OF    PART    II. 

Part  II. 


Par.  87b. 


3.    Parti. 


etc. 


*i)  MENDELSSOHN,  "Song  without  Words"  No.  14.  See  the  Original. 
The  thematic  derivation  of  the  Second  Part  from  the  First  is  indicated  by  the 
brackets.  It  will  be  observed  that  the  second  member  of  Part  I  becomes 
the  first  (and  therefore  typical)  member  of  Part  II;  as  in  Ex.  71,  note  *4), 
which  review. 

*2)  "  Song  without  Words  "  No.  29, — same  as  note  *i).  Here  the  deriva- 
tion is  cleverly  disguised,  but  not  sufficiently  to  arouse  doubt  of  the  composer's 
intention  (or  perhaps  partly  unconscious  conception),  in  the  mind  of  the  closely 
observant  student.  This  is  one  of  the  "  secrets"  of  the  true  spirit  of  classical 
Form. 

See  also  :  "  Song  without  Words  "  No.  21  (Part  I  is  repeated  ;  Part  II  starts 
out,  in  meas.  61,  with  measure  n  of  the  repetition  of  Part  I) ;  No.  28  (Part  II 
based  largely  upon  the  last  figure  in  the  first  Phrase  of  Part  I) ;  No.  25  (Part 
II  utilizes  at  first  melodic  fragments  of  the  first  and  3rd  measures  of  Part  I, — 
to  the  exclusion  of  the  first  figure,  in  the  preliminary  half-measure;  after 
a  while  this  figure  gradually  reasserts  itself,  and  finally  the  entire  first  Phrase 
of  Part  I  is  taken  up  twice  in  Part  II,  of  course  in  a  different  key).  See  also 
MENDELSSOHN,  op.  72,  No.  i  (Part  II  starts  out  with  measure  5  of  the  First 
Part) ;  op.  72,  No.  3  (the  second  half  of  measure  i  becomes  the  first  half,  in 
Part.  II);  op.  72,  No.  5, — like  note  *i)  above. 


Par.  87b.  THEMATIC    CONDITIONS    OF    PART    II.  14.3 

Sometimes  Part  II  begins  where  (so  to  speak)  Part  I  leaves  off  : 


A  llegro. 


81. 


*i)  This  agrees  with  the  last  member  of  Part  I  (as  found  in  the  lower 
parts),  but  with  nothing  else  that  the  Part  contained. 

*2)  This  figure  corresponds  to  measure  6  of  the  First  Part,  in  opposite 
direction  ("  contrary  motion  "  ;  see  Ex.  82). — See  also  Ex.  89;  also 

HAYDN,  Symphony  No.  6  (Peters  ed.),  Menuetto  (Part  II  is  built  entirely 
upon  the  last  mel.  member  of  the  First  Part);  Symphony  No.  9  (Peters  ed.), 
Mr n uef to  (Part  II  derived  from  last  figure,  in  the  Codetta  to  Part  I). 


i44 


THEMATIC    CONDITIONS    OF    PART    II. 


Par.  87d. 


SCHUBERT,  Pfte.  Son.  4  (op.  122),  Menuctto;  Son.  6  (op.  147),  Scherzo. 
SCHUMANN,  Pafillons,  op.  2,  No.  i. 

(c)  Thirdly,  Part  II  constructed  more  or  less  in  the  direction 
opposite  to  that  of  the  First  Part, — similar  to  par.  39^ ;  especially 
at  the  start : 


82. 


r 


3.    Parti. 

fciLa-^—  L^  —  •  —  | 

—  k       ^ 

>        -         ^          ^v                J                -v 

•          « 

Part  II. 

etc. 
HAYDN. 

§tim                        \L      f                      ^                           A 

ff-j                   p           \        f                   •                                    \        '*^                           •  • 

wP              In^ 

1 

II                     II 

iTr           Ti1"" 

1              1 

h 

1                                                                   1                                        •  • 

etc. 
MENDELSSOHN.    No.  46. 

0  3'    '  ,  a-   f^       ' 

etc.        1  a-                          1 

i™"".  "™,          ri" 

fab-p-,—  •  —  ^j  —  *  —  *- 

r±^-b»—  -IF  ti*     §±? 

J  J  +-J-fi 

Part  I. 


Part  II. 


See  also  Ex.  87. — MENDELSSOHN,  "  Song  without  Words"  No.  9  (the  first 
figure  is  in  "contrary  motion";  the  remainder  chiefly  parallel);  No.  8  (the 
same) ;  No.  30. 

BRAHMS,  op.  76,  No.  4. — SCHUMANN,  Jugend-Album  op.  68,  No.  12,  first  24 
measures. 

This  thematic  relation  (or  opposition)  of  Part  II  to  Part  I  is  one  of  the 
characteristic  features  of  the  old  "  Gigue-form,"  whether  constructed  in  2-Part 
or  in  3-Part  Song-form.  See  BACH,  English  Suites:  No.  3,  Gigue;  No.  5, 
Gigue;  No.  6,  Gigue;  "  Well-tempered  Clavichord  "  Vol.  II,  Prelude  No.  5. 

(d)  Fourthly,  Part  II  melodically  different  from  the  First  Part, 
though  similar  or  related  in  general  style ;  the  same  vein  of  melodic 
conception  simply  runs  on  over  into  the  Second  Part,  which,  in  this 
variety  of  the  form,  becomes  thus  more  nearly  coordinate  with  (less 
dependent  upon)  Part  I  : 


Par.  87d.  THEMATIC    CONDITIONS    OF    PART    II. 

A  ndante. 


83. 


bit:: 


=i — | 

JT  * 


m 


Part  I. 


•»-  -y  +-  ,*  +- 

< —W—  r-  — r f 


tr 


tJT- 


~Q- 


=t- 


!=^ 


IP  ^ 

u~4" 


*1)       Part  II. 


*• ''  J— T^^"  \, '   *2)  J 


* — t- 


i-^-P*i 


-^4 


7-=l- 


H 1 \ 


^1 


rite.n. 


•etc. 
Part  IIL 


« 

-S1?!? 


l=ff 


146 


THEMATIC    CONDITIONS    OF    PART    II. 


Par.  «7e. 


*i)  In  the  Original  (Nocturne  15,  op.  55,  No.  i)  the  repetition  of  Part  I  is 
written  out  and  very  slightly  modified. 

*2)  The  organic  continuity  of  the  Parts  is  upheld  by  similarity  of  general 
style,  and  uniformity  of  accompaniment. 

*3)  This  is  the  only  place  in  Part  II  where  real  thematic  agreement  with 
the  First  Part  can  be  detected,  though  the  resemblance  between  this  and  the 
very  first  member  is  probably  only  accidental. 

See  also :  MENDELSSOHN,  "  Songs  without  Words,"  Nos.  37  ;  i ;  40;  16;  4. 

SCHUBERT,  Pffe.  Son.  No.  i  (op.  42),  "  Trio"  of  3rd  Movement. 

(e)  Finally,  Part  II  may  diverge  still  more  widely  from  Part 
I,  and  be  not  only  thematically  "new,"  but  even  somewhat  inde- 
pendent in  character  and  style.  But  see  par.  73$.  For  illustration  : 

Cheer/ally. 


84. 


Par.  88. 


TONALITY    OF    PART    II. 


'47 


*i)  Certain  slight  thematic  coincidences  exist  between  this  Second  Part 
and  its  First  Part,  but  the  impression  conveyed  is  that  of  a  more  pronounced 
change  of  character  than  is  exhibited  in  the  examples  preceding;  though 
the  difference  between  this  stage  and  that  of  Ex.  83  may  appear  scarcely 
definable. 

See  MENDELSSOHN,  "  Songs  without  Words,"  Nos.  2;  4;  35;  41. 

Greater  independence  of  Part  II  is  found  in  MENDELSSOHN,  "  Song  with- 
out Words  "  No.  7; 

And  still  more  in  SCHUMANN,  "  Album-Blatter  "  op.  124,  No.  8  (in  which, 
on  the  other  hand,  the  outward  connection  between  the  Parts,  i.  e.,  at  the 
cadence,  is  closer  than  usual). 

GRIEG,  Lyric  Pieces,  op.  12,  No.  5  (Parts  II  and  III  repeated). 

CHOPIN,  Mazurkas  11  ;  24. 

Examples  of  the  3-Part  Song-form  in  which  the  diversity  of  character  in 
Part  II  is  carried  to  an  extreme,  are  rare;  and  in  no  case,  however  rich  they 
may  be  in  imaginative  contents,  or  superior  in  attractiveness,  can  they  be 
regarded  as  models  of  logical  structure,  or  as  thoroughly  genuine  exponents 
of  the  tripartite  Idea,  as  demonstrated  in  the  foregoing  paragraphs.  See, 
for  instance,  BEETHOVEN,  Bagatelle  op.  33,  No,  2,  up  to  the  "Trio";  and 
SCHUMANN,  "  Album-Blatter,"  op.  124,  No.  3.  For  the  more  reasonable 
classification  of  such  irregular  forms,  glance  at  par.  H2«. 

The  introduction  of  new  material  into  Part  II  is  most  easily  accounted 
for  and  justified  when  the  latter  is  "sectional"  in  form;  see  Ex.  86,  and  its 
notes. 

TONALITY  OF  PART  II. 

88.,  As  regards  the  MODULATOR  Y  DESIGN  of  the  Second  Part, 
it  should,  in  general,  avoid  the  Tonic  line  of  the  original  key;  for 


i48 


TONALITY    OF    PART    II. 


Par.  : 


the  impression  of  a  Departure  will  depend  as  much  upon  a  change  of 
key  as  upon  anything  else  ;  and  the  idea  of  a  Return  is  realized  when 
the  original  key  is  regained,  after  a  more  or  less  marked  absence. 

But  the  Dominant  (or  Subdominant)  harmony  of  the  original 
key  may  be  introduced  into  Part  II ;  and  in  some  cases  the  Dominant 
furnishes  the  basis  of  the  entire  Part  from  beginning  to  end ; 
see  BEETHOVEN,  Pfte.  Son.  op.  31,  No.  3,  "Trio"  of  the  third 
Movement;  Symphony  No.  i,  "Trio"  of  the  third  Movement. 

Or  the  Tonic  harmonies  may  be  touched  in  passing  into  other 
chords  or  keys. 

Or  the  entire  Second  Part  may  disport  itself  in  other  related 
(or  even  unrelated)  keys.  See  Ex.  89  ;  also 

MENDELSSOHN,  "  Songs  without  Words"  No.  i  (Part  I,E  major;  Part  II 
begins  in  E  minor,  passes  into  G  major,  and  remains  there  nearly  to  the  end) ; 
No.  7  (Part  I,  E[>  major;  Part  II,  E|?  minor,  Gj?  major,  Ej?  minor);  No.  25 
(Part  I,  G  major;  Part  II,  E  minor,  F  major,  G  major  transiently,  A  minor, 
C  major,  A  minor) ;  Nos.  29;  31;  40;  42. 

BEETHOVEN,  Symphony  No.  2,  "Trio"  of  3rd  Movement  (Part  II  all  on 
the  Dominant  of  the  Relative  key,  up  to  the  last  chord). 

For  more  specific  directions  in  reference  to  Modulation, see  par. 94. 

As  a  rule,  the  Second  Part  should  at  least  begin  with  some 
other  than  the  original  Tonic  harmony,  in  order  to  distinguish 
itself  immediately  from  the  beginning  of  Part  I.  This  need  not 
interfere  with  the  plan  of  derivation  and  relation  illustrated  in 
Ex.  81.  When,  as  is  the  case  in  some  rare  examples,  the  Second 
Part  starts  out  exactly  as  the  First  Part  began,  the  member  should 
diverge  very  soon  into  other  chords  or  keys.  For  example  : 


Allegro. 


33. 


Par.  89a.  STRUCTURAL    DESIGN    OF    PART    II. 

Part  II. 


I49 


1 


G  major C  major D  major K  uiiiiur... 


«-     X     X  5>     X     X 

D  |  major    (Dominant  of  original  key.)       | 

HAYDN. 


*i)  Part  II  is  exactly  identical  with  Part  I,  up  to  this  ftj,  which  turns  the 
melodic  current  from  G  into  C.  The  keys  through  which  the  Second  Part 
passes  are  indicated. 

See  also  SCHUMANN,  op.  15,  No.  7  ("  Traumerei  "', ;  and  MENDELSSOHN, 
"  Songs  without  Words,"  No.  36;  No.  20. 

STRUCTURAL  DESIGN  OF  PART  II. 

8Qa.  In  regard  to  the  FORM  and  LENGTH  of  the  Second  Part, 
it  is  both  unnecessary  and  impracticable  to  recommend  any  other 
law  than  that  of  sensible  proportion,  and  balance ;  and  this,  as  it 
will  depend  upon  a  variety  of  circumstances  and  conditions,  must 
be  left  to  the  judgment  or  intention  of  the  composer.  The  principle 
of  approximate  symmetry  is  apt  to  prevail,  and  therefore,  as 
already  stated,  if  Part  I  is  a  Period,  Part  II  is  somewhat  likely 
to  be  a  Period  also,  perhaps  slightly  extended. 

Sometimes,  however,  the  Second  Part  is  so  brief  (only  Phrase- 
form)  and  comparatively  insignificant,  that  it  assumes  the  character 


SECTIONAL    FORM    OF    PART    II. 


Par  89b. 


of  a  mere  interlude, — a  hasty  (though  genuine)  Departure,  intro- 
duced for  no  other  purpose  than  to  create  the  impression  of  a  Return. 

See  MENDELSSOHN,  Fantasie  op.  28,  2nd  Movement,  first  18  measures 
(Part  I,  7  measures;  Part  II,  only  3  measures);  op.  16,  No.  i,  Allegro  move- 
ment (Part  I,  34  measures  and  repeated  ;  Part  II,  only  10  measures). 

CHOPIN,  Mazurka  47  (op.  68,  No.  2)  first  28  measures. 

BEETHOVEN,  Violin-Concerto,  op.  61,  Finale  (Rondo),  first  18  measures 
(Part  II,  only  2  measures). 

Other  examples  of  the  small  Second  Part  are  cited  in  the  footnote  upon 
page  138.  (BEETHOVEN,  Pfte.  Son.  op.  49,  No.  2,  Finale,  first  20  measures ;  etc.). 

It  is,  perhaps,  more  common  to  make  the  Second  Part  a  little 
longer  than  Part  I.  And,  unquestionably,  the  peculiar  nature  of 
the  Chain-phrase  and  the  Group  of  Phrases,  especially  in  sequen- 
tial succession,  adapts  them  in  every  sense  more  fully  to  the 
purpose  and  conditions  of  a  Second  Part  than  any  other  more 
regular  and  perfect  structural  design.  Hence,  the  formation  of 
Part  II  in  Ex.  85  may  be  regarded  as  exemplary.  See  par.  31,  first 
clauses,  and  the  very  last  clause  of  par.  58. 

See  MENDELSSOHN,  "  Songs  without  Words "  No.  35  (Part  I,  Period; 
Part  II,  Period  extended)  ;  No.  28  (Part  I,  Period ;  Part  II,  Period,  sequential 
construction);  No.  19  (Part  I,  small  Double  period;  Part  II,  group  of  6 
Phrases);  No.  31  (Part  II,  a  Group  of  Phrases);  No.  10;  No.  15;  No.  40 
(sequential  construction). 

SECTIONAL  FORM  OF  PART  II. 

(b)  In  some,  especially  the  larger,  varieties  of  the  j-Part 
Song-form,  the  Second  Part  is  SECTIONAL  in  form  ;  i.  e.,  it  consists 
of  two  (or  even  more)  "  Sections,"  separated  from  each  other  by 
a  complete  cadence  in  the  momentary  key,  and  often  so  distinctly 
individualized  that  they  would  have  to  be  regarded  as  complete 
"  Parts  "  under  ordinary  circumstances  ;  but  their  location,  between 
Part  I  and  its  Recurrence,  renders  it  possible,  notwithstanding 
their  independence,  to  preserve  the  impression  that  they  are  only 
the  subdivisions  of  one  broad  Part, — just  as  the  three-fold  condition 
of  Departure,  Absence  and  Return  may  all  be  comprehended  within 
the  single  idea  of  Digression.  For  illustration  : 


86. 


B-fcJ        *     ^" 

•-4-                                                                -*- 

etc. 

fe?&   * 

1        *     \ 

|                                        f 

1 

II 

-L_ 

v« 

—\[ 

P 

Period-form  (  8  measures). 
•                                                 See  Original.   *1) 

?                        ^ 

tiijrafi 

I 

i             «^ 

•+                             v« 

>Jl                  0 

{y     T* 

• 

S            1                 S 

«N                   A 

& 

lr 

1 

Par.  89b.  SECTIONAL    FORM    OF    PART    II. 

Part  II.    Section  1. 


«=S: 


.  Extension 


Extension 


THE    CADENCE    OP'    THE    SECOND    PART.  Par.  90a. 

BEKTHOVRN. 


*i)  Pfte.  Son.  op.  2,  No.  2,  Scherzo. — The  subdivision  of  the  Second  Part 
into  two  independent  sections  is  strongly  marked ;  but  they  nevertheless 
constitute,  together,  only  the  one  Part  which  represents  the  Digression,  the 
interim  between  Parts  I  and  III,  whose  identity  is  unquestionable.  Still,  if 
carried  to  an  undue  extreme,  this  subdividing  process  (like  that  mentioned 
in  the  very  last  clause  of  par.  87)  destroys  the  legitimacy  of  the  tripartite 
design,  and  gives  rise  to  a  "  Group  of  Parts,"  such  as  appears  in  CHOPIN, 
Mazurka  No.  14,  the  classification  of  which  will  be  found  in  pars.  114,  115. 

See  also  Ex.  89;  also  MENDELSSOHN,  op.  72,  No.  i. 

SCHUBERT,  Pfte.  Son.  No.  10  (Bj?  major),  Scherzo. 

HAYDN,  Symphony  No.  n  (Peters  ed.),  Mentietto. 

The  most  plausible  variety  of  this  sectional  form  is  obtained 
by  adding  a  Codetta  to  the  body  of  the  Second  Part.  This,  while 
comparatively  unusual,  and  somewhat  out  of  place,  can  nevertheless 
be  done  without  injuring  the  form,  if  the  Codetta-section  be  chiefly 
a  confirmation,  or  independent  extension,  of  the  Cadence-member 
of  Part  II,  so  manipulated  as  not  to  interfere  with  the  purpose  of 
the  latter  to  prepare  for  the  Recurrence  of  the  First  Part  (as  Third 
Part). 

See  MENDELSSOHN,  "Song  without  Words"  No.  30  (Part  I,  Double 
period,  15  measures  ;  Part  II,  Section  i ,  Group  of  4 —  or  5 — Phrases,  20  measures ; 
Section  2,  Codetta  of  4  measures;  a  3rd  Section  follows,  as  Retransition,  to 
which  explanatory  reference  will  be  made  in  the  next  paragraph). 

See  also  MOZART,  Pfte.  Son.  17  (Cotta  ed.)  Finale,  first  Subject  (Part  I, 
Period,  12  measures;  Part  II,  Section  I,  Group  of  3 —  or  4 — Phrases,  18  measures; 
Section  2,  Codetta  of  2  measures,  repeated ;  a  3rd  section, — Retransition, — 
follows,  as  in  the  preceding  quotation). 

SCHUBERT,  Moment  musical,  op.  94,  No.  6 (Part  I,  large  Per.,  16  measures; 
Part  II,  Per.  ext.  at  end,  17  measures;  Codetta  of  3  meas.,  repeated;  a  Re- 
transition  of  14  meas.  follows). 

BEETHOVEN,  Pfte.  Son.  op.  13,  Adagio,  meas.  23-27. 

THE  CADENCE  OF  THE  SECOND  PART. 

9Oa.  As  regards  the  CADENCE  of  Part  II,  it  is  evident  that 
it  must  be  made  in  such  a  manner  as  to  foreshadow,  prepare  for, 
and  lead  with  a  certain  degree  of  emphasis  into,  the  first  member 


Par.  90a. 


THE    CADENCE    OF    THE    SECOND    PART. 


'53 


of  Part  I  as  it  recurs  at  the  beginning  of  Part  III.  Hence,  as 
shown  in  par.  83*7,  2nd  clause,  it  is  most  likely  to  be  made  upon 
the  Dominant  Harmony  of  the  original  key  (or  the  Tonic  Harmony 
of  the  Dominant  key},  because  no  other  chord  than  this  tends  so 
urgently  toward  the  tonic  Harmony,  with  which  Part  I  (and 
therefore  Part  III  also)  is  supposed  to  begin.  Sometimes  the 
Dominant  idea  (as  Dom.  chord,  or  Dom.  key,  or  Dominant  Organ- 
point)  runs  through  the  entire  Second  Part,  as  in  Ex.  78. 

BEETHOVEN,  Pfte.  Son.  op.  31,  No.  3,  "Trio"  of  the  3rd  Movement; 
Pfte.  Son.  op.  2,  No.  2.  Largo,  first  Subject;  MENDELSSOHN,  "Song  without 
Words  "  No.  2. 

Or  the  Second  Part  is  conducted  into  the  Dominant  a  certain  dis- 
tance (one  or  more  measures,  or  Phrases,)  before  its  end,  as  in  Ex.83. 

Often  quite  a  persistent  extension  of  the  Dominant  Harmony 
is  made,  in  some  form  or  other,  to  stimulate  expectation  of  Part 
III,  as  in  Ex.  84  and  Ex.  85. 

CHOPIN,  Mazurka  18.  MENDELSSOHN,  "  Songs  without  Words,"  Nos.  9, 
19.  BEETHOVEN,  Bagatelle  op.  33,  No.  i. 

Allegretto. 


87. 


Part  II. 


etc. ;     regular 
Period. 


11 


^  (Expansion  of  Dominant) 


THE    CADENCE    OF    THE    SECOND    PART.  Par.  90b. 

HAYDN. 


-J— ^5=FJ=j=^d== 


Sometimes  this  expansion  of  the  Dominant  harmony  is  elabo- 
rated by  transient  alternation  with  other  (most  effectively  with 
Subdominant)  chords ;  the  Dominant  is  reached  in  due  time,  but 
instead  of  passing  immediately  over  into  the  Tonic,  it  sways  a  few 
times,  generally  at  least  twice,  back  and  forth,  like  a  pendulum 
before  coming  to  rest. 

See  MENDELSSOHN,  "  Songs  without  Words  "  No.  i,  measures  9-14  from 
the  beginning  of  Part  II ;  No.  10,  meas.  26-38  from  beg.  of  Part  II;  No.  27  (the 
expansion  and  elaboration  of  the  Dom.  differs  so  completely  in  character  as  to 
appear  to  be  an  Interlude  or  Retransition). 

The  hearer's  anticipation  of  Part  III  is  furthermore  confirmed 
and  emphasized,  as  a  very  general  rule,  by  a  relaxation  of  motion 
(ritard.}  in  ending  Part  II.  This  is  seen  in  Ex.  83 ;  also  in  Ex. 
86,  where  the  effect  is  further  heightened  by  a  rest  of  nearly  two 
measures'  duration, — the  appropriateness  of  which,  after  so  wide 
a  digression  in  character  and  in  key,  the  student  will  realize. 
MENDELSSOHN,  "Songs  without  Words,"  Nos.  28;  32;  8. 

On  the  other  hand,  the  Dominant  ending  is  sometimes  so 
brief,  and  the  cadence  so  completely  bridged  over,  that,  but  for 
its  being  in  the  proper  measure,  and  followed  by  a  particularly 
well-defined  announcement  of  the  original  initial  member,  it  could 
not  fulfil  its  important  purpose. 

See  Ex.  76 ;  MENDELSSOHN,  "  Songs  without  Words,"  Nos.  23  ;  32  ;  38 ;  20 
{very  brief  diminished  7th) ;  SCHUMANN,  op.  15,  No.  i ;  CHOPIN,  Mazurkas, 
Nos.  4;  ii. 

(b)  But,  while  the  Dominant  termination  of  Part  II  is  unques- 
tionably the  simplest,  the  most  common,  and  (ordinarily)  the  most 
appropriate,  other  harmonic  forms  are  quite  frequently  employed ; 
chiefly  because  of  their  superior  effectiveness,  but  also  in  consequence 
of  a  possible  irregularity  in  the  beginning  of  Part  I  (and  Part  III) 
which  may  call  for  special  treatment  of  the  cadence  of  the  Second 
Part. 


Par.  OOb.  THE    CADENCE    OF    THE    SECOND    PART.  155 

In  MENDELSSOHN,  "Song  without  Words"  No.  25,  Part  I  begins  upon 
the  Dominant,  and  consequently,  the  Second  Part  ends  upon  one  of  the 
Second-Dominant*  Harmonies  (the  altered  II7);  No.  46,  though  in  G  minor, 
begins  upon  the  Dom.  of  F;  Part  II  closes  with  a  very  prolonged  exposition 
of  this  same  chord,  and  leads  into  Part  III  very  smoothly,  though  noticeably 
enough;  No.  24  is  similar,  though  more  abrupt. 

The  most  common  substitute  for  the  usual  Dominant  ending  is 
the  chord  (or  key)  upon  the  Mediant, — the  3rd  scale-step  of  the 
original  key.  This  will  appear  less  peculiar  when  the  student 
recalls  that  the  chord  III  is  a  member  of  the  Dominant  harmonic 
family,  and  that,  in  any  event,  it  contains  the  leading-tone  of  its 
key,  through  \vhich  the  safe  transition  back  into  the  Tonic  begin- 
ning is  sufficiently  assured.** 

See  MENDELSSOHN,  "  Song  without  Words  "  No.  22  (F  major;  the  Second 
Part  ends  upon  the  Tonic  of  A  minor,  which  corresponds  to  the  III  of  F;  the 
e,  in  Bass,  is  effectively  treated,  as  Leading-tone)  ;  No.  n  ;  No.  42. 

CHOPIN,  Mazurka  No.  16  (A|7  major;  the  Second  Part  closes  with  an 
emphatic  extension  of  the  chord  upon  the  3rd  scale-step,  but  in  the  major 
form,  as  actual  Dom.  chord  of  F  minor;  this  merely  adds  to  the  effectiveness 
of  the  device,  without  impairing  its  legitimacy);  Mazurka  No.  29  (the  same); 
Mazurka  No.  22  (Gj  minor;  Part  II  ends  upon  the  Tonic  chord  of  its  3d  step, 
i.e.,  B, — but,  naturally,  as  major  Triad  ;  this  cancels  the  Leading-tone  of  the 
coming  Part,  it  is  true,  but  the  transition  is  still  far  less  abrupt  than  in  many 
other  cases). 

More  abrupt  forms  of  transition  from  the  end  of  Part  II  into 
Part  III  are  found  in  MENDELSSOHN,  k' Song  without  Words" 
No.  45  (hinging  upon  the  Leading-tone)  ;  No.  39  (Parts  I  and  III 
beginning  upon  the  Subdominant  Harmony). 

Another  effective  mode  of  closing  Part  II,  in  convenient  prepa- 
ration for  the  initial  member  of  the  Third  Part,  consists  in  employing 
some  form  of  the  Subdominant  (or  Second-Dominant)  Harmony, 
i.  e.,  the  IV,  II,  II7  or  IV7,  either  in  their  legitimate  form,  or 
(preferably)  in  any  of  their  altered  or  mixed  forms  (with  lowered 
6th  scale-step,  raised  4th  scale-step,  etc.).  These  chords  almost 
necessarily  involve  resolution  into  some  inverted  form  of  the  Tonic 
Harmony,  wherefore  Part  III  will,  in  this  case,  usually  be  found  to 
begin  upon  the  Tonic  six-four  chord.  For  example  : 

*See  the  Author's  "  Material  used  in  Mus.  Comp."  paragraph    6c. 
**  fdfin.  paragraphs  90-93 


THE    CADENCE    OK    THE    SECOND    PART. 


Par.  90b. 


A  ndan/e. 


Part  II. 


88. 


MENDELSSOHN.  No.  48. 


;=3E 


— N— 


33 


Part  III. 

« 


jHT* 


^^M^T^ 


>/*       / 


etc. 


9t 


-I 


=P3= 
^B^^^S^ 


-p 


*i)  The  Second  Part  closes  upon  the  chord  of  the  II1  (with  the  raised  2nd 
and  4th,  and  then  the  lowered  6th,  scale-steps);  and  Part  III  begins  upon  the 
accented  I  chord  of  the  Tonic.  This  latter  differs  slightly  from  the  harmonic 
form  of  the  beginning,  but  not  enough  to  obscure  the  effect  of  Recurrence. 

See  also  MENDELSSOHN,  "  Song  without  Words  "  No.  7  (Part  II  ends  with 
an  altered  Subdom.  chord;  Part  III  begins  with  the  Tonic  |  chord);  No.  12; 
No.  29;  No.  43  (all  similar). 

Any  such  tampering  with  the  beginning  of  Part  I  (as  Part 
III)  involves,  of  course,  the  danger  of  impairing  or  destroying  the 
principal  landmark  of  the  tripartite  form,  i.  e.,  the  distinctly 
recognizable  Return  to  the  beginning,  in  exactly  its  original  condi- 
tion. Therefore,  if  any  modification  at  this  point  be  ventured,  it 
must  be  very  cautiously  effected,  with  a  view  to  preserving  at  least 
all  the  essential  and  characteristic  elements  of  the  initial  member  of 
Part  I.  To  what  such  modification  of  the  latter  may  lead,  will 
be  seen  in  par.  1 10. 


Par.  90c.  THE    RE-TRANSITION.  157 

See  also  MENDELSSOHN,  "  Songs  without  Words,"  Nos.  41 ;  40;  37;  21 ;  in 
each  case  the  initial  melodic  member  is  retained  in  Part  III,  but  differently 
harmonized.  No.  36  (the  first  measure  of  Part  III  is  so  disguised  that  full 
consciousness  of  the  form  is  not  aroused  until  the  2nd  measure  appears). 
CHOPIN,  Mazurka  46,  Principal  Song;  Nocturne  No.  16,  first  12  measures 
(already  referred  to  as  3-Part  Period). 

The  most  irregular  and  confusing  of  all  modes  of  terminating 
the  Second  Part,  is  to  lead  it  into  the  Tonic  Harmony  ;  this,  just 
before  the  announcement  of  Part  III  upon  the  same  chord  (Tonic), 
seriously  endangers  the  identity  of  the  Third  Part  as  "Return" 
(comp.  par.  88,  first  clause). 

See  Ex.  91  ;  and  MENDELSSOHN,  •'  Songs  without  Words,"  No.  4;  No.  31 ; 
BEETHOVEN,  Rondo  in  C,  op.  51,  No.  i,  first  Theme;  (Rondo  in  G,  op.  51, 
No.  2,  first  Theme,  is  scarcely  better). 

THE   RE-TRANSITION. 

(c)  It  must  be  borne  in  mind  that  a  full-fledged  Second  Part 
comprehends  three  successive  phases,  which,  while  their  lines  of 
demarcation  may  be  almost  imperceptible,  are  still  distinct  enough 
in  their  several  purposes  to  give  rise  to  three  different  courses  of 
conceptive  action.  These  are  :  (i)  a  Departure  from  the  Kne  of  the 
principal  Part;  (2)  an  optional  period  of  Absence,  during  which 
considerable  individuality  may  be  developed, — as,  for  instance,  in 
the  sectional  form  ;  and  (3)  the  Return  to  the  original  starting-point. 
This  third  phase  may  justly  be  regarded  as  the  most  significant  of 
all,  for  it  is  the  ultimate  aim  of  the  entire  Part,  and  an  endless 
amount  of  ingenuity  may  be  displayed  in  the  effective  formulation 
of  the  means  employed  in  realizing  this  "return  to  the  starting- 
point."  The  larger  the  form,  the  greater  the  likelihood  and 
necessity  of  devoting  a  separate  section  wholly  to  this  purpose. 
For  such  a  "  returning  section  "  the  term  RE-TRANSITION  appears 
most  fitting. 

In  case  the  Re-transition  thus  forms  a  separate  section,  by 
itself,  the  body  of  Part  II  will  usually  have  a  complete  Tonic 
cadence  in  whatever  key  it  chances  to  have  reached.  The  Re- 
transition  then  leads  back,  from  that  point,  into  the  key,  chord, 
style  and  melody  of  the  beginning,  in  such  a  manner,  and  at  such 
length,  as  seems  most  adequate  and  effective.  It  appears  useless  to 
undertake  to  give  any  more  definite  rules  than  this  for  the  process ; 
for  it  is  governed  by  ever-varying  circumstances.  There  is  no 


15* 


THE    RE-TRANSITION. 


Par.  90c. 


better  source  of  information  than  standard  musical  literature,  and 
the  student  is  therefore  urged  to  make  careful  examination  and 
analysis  of  the  given  examples,  references,  and  whatever  other 
illustrations  he  can  find.  In  all  essential  respects  the  Re-transition 
partakes  of  the  nature  and  purpose  of  the  "  Introduction,"  though 
infinitely  richer  in  possibilities.  For  example  : 


89. 


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t53ES_=juI*if-± 

*=I h-*-?8  Hr 


Par.  90c.  THE    RE-TK  AXSITIOX. 

Section  2. 


'59 


—  — ,-^4 


Cad. 


Retransition. 


n    i,           -  —  ~~ 

.  

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(r 

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r             •    *f 

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f\Y)    P                             ' 

—  ^  1  —  * 

1- 

ritard. 

T  :* 

a  temp< 

>. 

1 

,  —            L 

etc. 
1            1          II 

^-)~i"^y-^  &  f  —  «  — 

£J             4    •* 

—  *,  i  — 

-^  *  -m— 

2:  E3: 

-  •*•                +- 

*i)  The  division  of  this  Second  Part  into  Sections  is  very  recognizable. 
Section  i  is  the  "Departure,"  with  just  sufficient  lingering  recollection  of 
Part  I  to  emphasize  the  idea ;  Section  2  is  a  more  decisive  digression  from 
Part  I,  and  stands  for  the  "  Absence." 

*2)  Here  the  body  of  Part  II  terminates,  with  the  perf.  cadence  in  the 
key  into  which  the  2nd  section  has  strayed  (G^>  major).  The  Re-transition 
which  follows,  consists :  firstly,  in  an  abrupt  chromatic  dash  back  into  the 
original  Dominant,  accentuated  by  the  isolated  forte;  and,  secondly,  in 
a  4-measure  expansion  of  this  Dominant,  during  which  the  Soprano  and  Bass 
converge  smoothly  but  persistently  toward  the  tones  with  which  Part  I  began. 

See  also  SCHUBERT,  Pfte.  Son.  No.  4,  Mcnuetto. 

MENDELSSOHN,  "Song  without  Words"  No.  13,  Ef?  major;  the  body  of 
Part  II  terminates  in  the  32nd  measure,  on  the  Tonic  of  G  minor ;  the  following 
8  measures  are  Re-transition,  based  entirely  upon  the  first  melodic  figure  of 
Part  I,  which  suggests,  and  is  skilfully  led  into,  the  Third  Part;  the  original 
Dominant  is  reached  in  the  5th  measure  of  the  Re-transition,  and  then  sways, 
as  seen  in  former  references, — text  following  Ex.  87 ; — it  -will  be  observed  that 
wfien,  in  thus  swaying,  the  original  Tonic  is  touched,  the  composer  is  careful 


l6o  THE    RE-TRANSITION.  Par.  90c. 

to  use  the  minor  form  of  Tonic  Harmony,  in  order  to  preserve,  and  even 
increase,  the  force  of  the  original  major  form,  when  the  latter  heralds  the 
beginning  of  the  Third  Part;  this  same  significant  trait  will  be  found  in  many 
other  major  examples, — ''  Songs  without  Words,"  Nos.  i,  7,  19,  20,  31,  37. 

See  also  "  Songs  without  Words,"  No.  16;  Part  II  virtually  ends  in  the 
igth  measure,  with  a  Dominant  semicadence ;  a  Re-transition  of  2  measures 
follows,  built  upon  the  first  melodic  member. — No.  26;  effective  Re-trans,  of 
4  measures  before  Part  III. — No.  34,  measures  25-29. — No.  37,  Re-transition 
of  4  measures. — No.  3;  Part  II  is  16  measures  long,  ending  with  a  firm 
cadence  in  the  key  of  the  original  3rd  step;  a  Re-transition  of  5  measures 
follows. 

Such  a  separate  Re-transition  is  very  likely  indeed  to  accom- 
pany (i.  e.,  follow)  a  Codetta  to  the  Second  Part,  when  that 
somewhat  rare  factor  is  employed  (see  last  clause  of  par.  89).  The 
Re-transition,  in  this  case,  starts  with  the  apparent  intent  of 
repeating'  the  Codetta,  but  sooner  or  later  "dissolves"  the  original 
form  of  the  latter,  and  digresses  into  such  a  course  as  defines  its 
re-transitional  purpose. 

See  MENDELSSOHN,  "  Song  without  Words"  No.  30,  A  major;  Part  II 
terminates  with  a  Tonic  perf.  cad.  in  E  major  in  the  35th  measure;  the 
4-measure  Section  which  follows  is  an  independent  and  regular  Phrase,  with 
its  own  unmistakable  cadence ;  it  does  not  belong  to  the  body  of  the  Second 
Part,  for  that  terminates  with  the  utmost  decision  before  this  Phrase  begins ; 
nor  is  it  in  the  Third  fart,  for  obvious  reasons ;  nor  is  it  a  Re-transition  into 
the  latter,  because  of  its  complete  cadence;  thus  it  proves  to  be  an  adjunct  of 
Part  II,  in  the  capacity  of  a  "  Codetta."  The  measures  which  follow  indicate 
for  a  time  the  intention  of  repetition,  but  then  abandon  this  purpose  and 
become  a  genuine,  and  exceedingly  attractive  and  clever  Re-transition. 

The  same  treatment  is  found  in  "  Song  without  Words  "  No.  17,  measures 
14-17  (Part  I  closes  in  the  4th  measure  with  a  vague  form  of  cadence,  ex- 
plained in  par.  93«). 

See  also  CHOPIN,  Nocturne  No.  17,  measures  21-28. 

In  the  ordinary  3-Part  Song-form,  however,  the  Re-transition 
is  somewhat  more  likely  not  to  constitute  such  a  distinct  section, 
but  to  grow  out  of  some  later  member  of  the  Second  Part,  perhaps 
so  imperceptibly  that  it  is  not  easy  to  point  out  the  exact  beat 
where  the  purpose  of  re-transition  is  evident.  Here,  the  persistent 
bent  of  the  harmony  toward  the  original  Dominant,  and  the  equally 
characteristic  tendency  of  the  melodic  current  to  lead  into  and 
regain  the  first  tone  and  figure  of  the  First  Part,  is  possibly  more 
noticeable  than  in  the  separate  Re-transition  ;  and,  in  any  case,  this 
two-fold  tendency  (first  toward  the  key  and  then  toward  the  melody) 


1'ar.  90c. 


THE    RE-TRANSITION. 


161 


must  be  regarded  as  inherent  in  all  re-transitional  passages.  This 
is  plainly  shown  in  Ex.  89.  In  the  following  illustration,  the 
bent  of  the  Re-transition  is  concentrated  upon  the  initial  melodic 
member  of  Part  III : 


Andante. 


90. 


B: 

S     3 

«                                                    i 

_1       W       * 

•    J                                               I 

ub    i 


Part  II. 


etc.    See  Ex.  63,  or  the  Original.   *1) 

V 


*i)  "  Song  without  Words  "  No.  33. 

*2)  The  re-transitional  purpose  appears  to  assert  itself  here,  but  in  such 
close  keeping  with  the  melodic  line  of  the  foregoing  measure,  that  its  actual 
bearing  upon  the  coming  Third  Part  is  only  gradually  apprehended.  It  is  left 
to  the  pupil  to  trace,  in  this  particularly  beautiful  example,  the  slow  but  sure 
approach  of  the  melodic  delineation  to  that  of  the  first  figure  of  Part  III,  and 
to  observe  how  the  harmonic  color  of  these  re-transitional  measures  tinges 
the  first  tones  of  the  Recurrence  of  the  initial  figure,  until  the  Ctj  puts  a  stop 
to  the  playful  illusion,  and  restores  the  serious  mood  of  the  Third  Part. 
"  Song  without  Words  "  No.  41  is  similar. 

See  also  MENDELSSOHN,"  Songs  without  Words,"  No.  1 1  (the  re-transitional 
purpose  is  manifested  in  the  2oth  measure ;  the  melodic  figure  of  three  tones 
corresponds  to  the  beginning  of  Part  III);  No.  14,  last  3  measures  of  the 
Second  Part;  No.  21,  last  8  measures  of  the  Second  Part  (built  upon  the  first 
melodic  member, — 2  measures, — of  Part  III)  ;  No.  39,  last  4  measures  of  the 
Second  Part;  No.  45,  C  major,  last  4  (or  perhaps  8)  measures  of  Part  II; 
No.  37 ;  No.  36,  last  3  measures  of  Part  II  (this  re-transitional  expansion  of  the 
Dominant  flows  over  into,  and  slightly  influences,  the  first  figure  of  the  Third 
Part).  No.  47  (A  major)  is  peculiar;  Part  II  virtually  ends  at  the  beginning  of 
the  37th  measure ;  the  measures  which  follow  are  partly  a  sequence  of  the  two 
which  precede,  and  partly  an  anticipation  of  the  beginning  of  Part  III. 


162 


THE    THIRD    PART. 


Par.  91. 


THE  THIRD  PART. 

9  1  .  In  the  ordinary  complete  3-Part  Song-form,  here  under 
consideration,  the  Third  Part  is  a  SIMPLE  RECURRENCE  OR 

REPRODUCTION    OF    PART    I. 

If  the  First  Part  closes  with  a  perfect  cadence  in  the  original 
key,  then  it  may  reappear  literally  in  Part  Third,  as  conventional 
"  da  capo." 

But  if  the  First  Part  cadences  in  some  other  key,  or  has  any 
other  imperfect  form  of  cadence,  then  at  least  enough  of  the  ending 
of  Part  III  must  differ  from  the  original  Statement  to  admit  of  its 
cadencing  properly,  in  the  principal  key. 

And,  furthermore,  any  purely  unessential  modifications  of 
Part  I  (affecting  the  harmonization,  or  the  register,  or  ornamenting 
the  Melody)  may  be  introduced  in  the  Third  Part,  to  heighten  its 
effect.  But  no  more  important  changes  than  these  are  exhibited 
in  the  "  Simple  Complete  Form."  For  example  : 

Poco  sostenuto. 

-£2-' 


91. 


A.  A3"*    •*•  ± 

m          \  ~~~     -*•  •tr  •»••»- 

-f • B 5— »;— ri » — »~»i * 

ft 


Par.  91. 


THE    THIRD    PART. 


163 


/* 


pp 


Part  III. 


^tzt^J^S^ 


•=i=»=srrg — s==fe=B=  -«3 

— » — »—  0    *y —      »    • — I  [g        -*    i      I 


*i)  Part  II  closes  on  the  original  Tonic;  but  the  beginning  of  Part  III 
is  distinct  enough.  See  par.  93*7. 

*2)  Part  III  is  essentially  the  same  as  Part  I ;  the  register  of  the  melody  is 
changed,  and  one  measure  is  omitted. — In  CHOPIN,  Mazurka  No.  49,  Part  III 
is  not  written  out  at  all,  but  simply  indicated  by  the  words  "  da  capo." 

In  Ex.  76  and  Ex.  77,  though  a  smaller  species  of  the  tripartite  design,  thft 
lUe.ral  agreement  of  Part  (Phrase)  III  with  Part  (Phrase)  I,  is  illustrated. 
In  MENDELSSOHN  op.  72,  No.  i,  and  "Song  without  Words"  No.  45  (C 
major)  the  Recurrence  is  literal. — Ex.  89  is  concluded  (in  the  Original)  by 


164  EXTRANEOUS    MEMBERS.  Par.  92. 

reproducing  the  first  4  measures  of  the  melody  an  octave  higher  than  at  first, 
while  all  the  rest  is  left  precisely  as  it  was. — Ex.  84  is  concluded  in  the  Original 
(SCHUMANN,  op.  68,  No.  24)  by  reproducing  Part  I  with  very  slight  changes. - 
In  the  conclusion  of  Ex.  83  (CHOPIN,  Nocturne  15,  Principal  Theme)  a  brief 
variation  of  Part  I  is  made. 

In  BEETHOVEN,  Pfte.  Son.  op.  2,  No.  2,  Scherzo  (Ex.  86)  the  reproduction 
is  literal.  In  Pfte.  Son.  op.  22,  Mcnuetto,  slight  changes  are  made.  In  the 
F  major  Variations,  op.  34,  Theme,  the  Recurrence  is  literal. 

In  MENDELSSOHN,  "Song  without  Words"  No.  22,  Part  III  is  a  little 
differently  harmonized  from  its  First  Part;  in  No.  32,  the  single  melody  of 
Part  I  is  transformed  into  a  duet  in  Part  III. 

In  HAYDN,  Pfte.  Son.  No.  6  (Cotta  ed.),  ist  Movement,  Principal  Theme, 
there  is,  in  addition  to  interesting  variation  in  Part  III,  a  change  in  the  last 
member,  necessitated  by  the  circumstance  of  Part  I  having  closed  with  a 
cadence  in  the  Dominant  key ;  the  same  in  SCHUBERT,  Pfte.  Son.  No.  i,  2nd 
Movement,  Theme  (Part  I  repeated)  ;  the  same  in  BEETHOVEN,  Pfte.  Son. 
op.  2,  No.  i,  "  Trio  "  of  3rd  Movement. 

CHOPIN,  Etude  in  AJ?  (No.  3  in  the  "  Moscheles-Fetis  "  method),  Part  III 
slightly  expanded  at  end.  CHOPIN,  Mazurkas  16;  22  (long  Second  Part);  24 
(Part  II  quite  distinct,  and  repeated);  40;  43  (Part  II  repeated,  distinct 
re-transitional  interlude;  Part  III,  literal  Recurrence  of  Part  I);  44. 

GRIEG,  Lyric  Pieces  op.  12,  No.  2;  op.  38,  No.  2;  op.  43,  Nos.  i,  4,6 
(extended  at  end). 

BRAHMS,  op.  116,  No.  7,  "Trio"  (6-8  Time). — Op.  117,  No.  i,  first  tempo 
(Parts  I  and  II  small  Periods;  Part  III  is  extended  to  Double  period,  by 
reproduction;  Codetta);  compare  with  3rd  (last)  tempo. — Op.  118,  No.  2, 
meas.  1-25  after  first  double-bar. — Op.  118,  No.  3,  first  37  measures.— Op.  118, 
No.  6. — Op.  119,  No.  i. — Intermezzo,  op.  76,  No.  4. 

EXTRANEOUS  MEMBERS. 

92.  The  3-Part  Song-form  may  be,  and,  as  a  rule,  should  be, 
enlarged  by  the  addition  of  a  CODETTA  OR  CODA.  More  explicit 
explanation  of  the  character,  purpose  and  formation  of  these  factors 
is  given  in  par.  98,  to  which  brief  reference  may  be  made. 

The  prefixing  of  an  INTRODUCTION,  while  less  significant  than 
a  Coda,  is,  however,  barely  less  desirable ;  for  it  serves  to  empha- 
size, by  mild  contrast,  the  body  of  the  Song-form,  to  which  it  stands 
in  the  same  relation  as  the  "  margin  "  to  a  picture. 

Turn,  again,  to  MENDELSSOHN,  "Song  without  Words"  No.  12,  and 
examine  into  the  relation  of  the  Introduction  to  the  entire  composition;  also 
Nos.  15;  26;  29;  and  32. 

When  a  PRELUDE  is  substituted  for  the  Introduction,  or  a 
POSTLUDE  for  the  Codetta,  its  architectural  and  logical  connection 
with  the  body  of  the  form  is  less  close,  and  its  relation  to  the  latter 
is  more  like  that  of  the  independent  "  frame  "  to  the  picture. 


Par.  92.  EXTRANEOUS    MEMBERS.  165 

Examine,  again,  MENDELSSOHN,  "Song  without  Words"  No.  4  (both 
Prelude  and  Postlude ;  almost  identical ;  here  the  simile  of  the  picture  with 
its  frame  is  very  fitting)  ;  also  No.  9  (a  Codetta  of  4  measures  is  added  to 
Part  III,  or,  more  accurately,  to  the  body  of  the  form,  before  the  Postlude 
appears);  Nos.  16;  28;  35;  and  41  (in  each,  similar  Prelude  and  Postlude). 
In  No.  21  the  Prelude  does  not  recur  at  the  end,  and,  in  other  respects  also,  it 
approaches  the  character  of  an  Introduction. — In  No.  3  the  Prelude  becomes 
the  thematic  basis  of  the  entire  elaborate  Coda. 

The  insertion  of  INTERLUDES  between  the  Parts  is  a  more 
hazardous  proceeding,  as  they  tend  to  disrupt  the  structural  con- 
tinuity. But  if  carefully  handled,  with  a  view  to  avoiding  this 
error,  they  may  be  very  effective.  They  must  either  conform 
strictly  to  the  limitations  imposed  upon  the  Introduction  (in  par. 
28,  second  and  third  clauses)  ;  or  they  must  prove  their  extraneous 
nature  by  agreement  with  a  Prelude. 

In  MENDELSSOHN,  "  Song  without  Words"  No.  23,  the  substance  of  the 
Prelude  reappears  after  9  measures,  as  Interlude  between  Parts  I  and  II ;  then 
again  23  measures  later,  as  Interlude  between  the  second  Division  of  the  form 
(i.  e.,  Parts  II  and  III)  and  its  repetition;  and  agafn  as  Postlude,  at  the  end.— 
In  No.  27  a  similar  recurrence  of  the  substance  of  the  Prelude  appears  between 
Parts  II  and  III  (quasi  as  Codetta  or  Re-transition),  and  again  at  the  end.— 
In  No.  29  there  is  one  measure  of  Interlude  between  Part  I  and  its  repetition ; 
in  No.  46  the  same  (in  each  case  borrowed  from  the  Introduction).  In  No.  34 
the  brief  introductory  figure  is  utilized  as  Re-transition,  both  in  the  second 
Division  (Parts  II  and  III)  and  its  reproduction;  and  again,  as  final  section  of 
the  Coda. 

EXERCISE  23. 

A.  Take  one  of  the  major  Periods  with  perf.  cad.  in  the  original  key, 
invented  in  Exercise  9;  to  this,  as  Part  I,  add  a  Second  Part  according  to  the 
directions    given  in  par.  8fa,  in  Period-form,  with  cadence  as  prescribed  in 
par.  ox>a ;   and  add  a  Third  Part  as  literal  Recurrence  of  Part  I  (the  words 
"  da  capo  "  will  suffice).  

B.  Some   former   minor  Period  with  regular  perf.  cadence,  as  Part  I ; 
to  this  add  a  Second  Part  according  to  the  directions  in  par.  87^,  in  Period- 
form  ;  cadence  as  in  par.  oxw ;  Part  III  a  literal  da  capo. 


C.  Some  other  former  major  Period  as  Part  I ;  to  this  add  a  Second  Part 
according  to  par.  87*:,  in  Period-form  with  extended  Dominant  cadence.     Part 
III  a  literal  da  capo. 

D.  Some  other  former   (or  new)  minor  Period  as   Part  I ;    to  this  add 
a  Second  Part  according  to  par.  87^,  in  Phrase-group  design,  with  some  form 
of  cadence  explained  in  par.  90^;  Part  III  a  nearly  literal  da  capo.     Review 
par.  88. 


l66  IRREGULAR  CADENCES.  Par.  9:ia. 

EXERCISE  24. 

A.  Some  former  (or  new)  Period  in  major,  with  cadence  in  some  other 
than  the  orig.  key,  as  Part  I ;  to  this  add  a  Second  Part  according  to  par.  87?, 
in  Phrase-group  design,  with  optional  cadence-form;  Part  III  a  literal  da 
capo,  excepting  change  of  last  member.  Review  par.  91. 


B.  Part  I  as    minor  Period  (regular   or  extended),  with    cad.   in  some 
related  key;    Part  II   optional  melodic  construction,  but  sectional  form,  as 
explained    in    par.    89^;    brief    Re-transition,    par.    ox>r;    Part   III    a   slightly 
modified  Recurrence  of  Part  I.     Review  par.  88;  AND  THE  DIRECTIONS  GIVEN 
IN  EXERCISE  9. 

C.  Part  I  major,  optional  form,  but  with  Introduction ;  Part  II  optional 
form  and  structure,  but  with  Retransition  ;  Part  III  a  slightly  modified  Recur- 
rence, followed  by  brief  Codetta.     Review  par.  92. 


D.     Part  I  minor,   Double   period,   Introduction    or   Prelude;     Part    III 
a  slightly  modified  Recurrence  with  brief  Codetta  or  Postlude. 


EXERCISE  25. 

A.  Part  I  major,  optional  form,  but  with  brief  Codetta ;  Part  II  optional ; 
Part  III  a  modified  Recurrence,  including  former  Codetta,  and  with  an 
additional  brief  Codetta.  Review  par.  23;  27;  par.  30;  53;  par.  40. 


B.     Minor,  entirely  optional  in  all  save  the  essential  requirements  of  the 
Simple  Complete  3-Part  Song-form. 


CHAPTER   XIII. 

ADDITIONAL    DETAILS   OF   THE    SONG-FORMS, 
i.    IRREGULAR  CADENCES. 

93.  There  are  a  few  peculiar  conditions  of  the  CADENCE,  not 
yet  explained,  to  which  attention  must  now  be  drawn. 

(a)  The  purpose  of  a  Cadence  is,  to  indicate  a  point  of  more 
or  less  complete  separation  between  two  contiguous  members  of 
the  structure, — a  "joint,"  where  one  member  ends  and  another 
begins  (par.  23).  There  are  two  modes  of  fulfilling  this  purpose, 
namely  : 

(i)  to  mark  the  end  of  the  frst  of  these  two  members  distinctly; 


Par.93a.  IRREGULAR  CADENCES.  167 

(2)  to  mark  the  beginning  of  the  ne~jc  member  with  equal  dis- 
tinctness. 

The  first  mode  is  the  simpler  and  more  common,  and  consists 
in  using  a  strong  Cadence-chord,  and  making  a  pause  in  the  audible 
rhythmic  pulse,  adequate  to  the  degree  of  separation  required. 
This  is  illustrated  in  nearly  all  of  the  foregoing  examples ;  see 
Ex.  46,  No.  3,  and  the  end  of  any  example  from  25  to  37. 

The  second  mode,  while  naturally  less  distinct  and  decisive 
at  the  moment,  is  nevertheless,  when  properly  executed,  ultimately 
quite  as  effectual,  and,  at  the  same  time,  smoother  than  the  other. 
It  consists  in  defining  the  beginning,  at  least,  of  the  following 
member  (Phrase,  Period,  Part,  or  whatever  it  may  be)  so  distinctly 
that  no  doubt  of  its  being  a  new  member  can  exist ;  this  defines 
the  form,  for  where  there  is  a  beginning  there  must  before  have 
been  an  ending.  This  is  precisely  the  principle  which  prevails  in 
the  mode  of  "phrasing"  explained  in  par.  10,  3rdly  (Ex.  15); 
while  sometimes  desirable  even  between  "Parts,"  it  is  naturally 
most  important  in  application  to  the  arrangement  of  smaller  mem- 
bers, because  frequent  complete  stops  (to  define  the  "end"  of 
every  member)  would  entirely  disrupt  the  design. 

The  more  unmistakable  the  outset  of  the  following  member  is,  the  less 
emphatic  need  the  foregoing  Cadence  be.  This  accounts  for  all  the  vague, 
imperfect  Cadences  (often  so  brief  and  indefinite  as  to  be  scarcely  discoverable 
at  first  as  Cadences)  hitherto  seen,  and  those  now  to  be  examined. 

For  example,  the  Semi-cadence  at  the  end  of  Part  First  in  the  Song- 
forms :  See  MENDELSSOHN,  "  Song  without  Words"  No.  17,  measure  4  (reg. 
Dom.  Semicadence ;  but  evidently  the  end  of  Part  I,  because  what  follows 
is  sufficiently  characteristic  to  be  evidently  the  beginning  of  Part  II) ;  No. 
38,  measure  10  (Cadence  of  Part  I  on  a  £  chord  !  It  is  rendered  sufficient  by 
appearing  in  the  8th  measure  and  being  repeated  in  the  loth ;  moreover,  the 
beginning  of  Part  II  is  unmistakable);  No.  47,  measure  18,  similar  to  No.  38; 
No.  39,  Part  I  ends  with  chord-Fifth  in  Soprano.  In  Nos.  7,  8,  10,  and  n, 
Part  I  ends  with  some  imperfect  form  of  Cadence  (usually  extended,  however); 
but  the  identity  of  the  Part  is  fixed  by  its  repetition  (see  par.  77,  last  clause).  In 
Nos.  30,  33,  41,  and  48,  the  Cad.  of  Part  I  is  unusually  brief  and  "  breathless," 
but  still  sufficient,  under  the  thematic  circumstances.  These  stand  in  marked 
contrast  to  the  decision  and  frankness  of  the  Cadence  to  Part  I  in  Nos.  23,  12, 
15,  27,  35  and  others. 

For  other  examples  of  an  imperfect  Cadence  at  the  end  of  a  complete 
member,  see  MENDELSSOHN,  No.  15 ;  at  the  beginning  of  measure  5  from  the 
end,  the  Tonic  Cadence-chord  has  the  Third  in  Soprano;  but  the  following 
member  nevertheless  constitutes  a  Codetta  (without  being  preceded  by  a 
compl.  perf.  Cad.  according  to  rule),  because  its  outset  is  sufficiently  distinct 


1 68 


IRREGULAR    CADENCES. 


Par.  93b. 


to  indicate  the  beginning  of  a  new  member.  The  same  trait  is  observable  in 
No.  16,  in  the  4th  meas.  from  the  end;  No.  31,  five  meas.  from  the  end;  and 
No.  33,  six  meas.  from  the  end. 

See  also  CHOPIN,  Nocturne  No.  9  (op.  32,  No.  i),  ending  (the  Codetta 
follows  an  Evasion  of  the  Cadence);  BEETHOVEN,  Pfte.  Son.  op.  31,  No.  3, 
Menuetto  (Part  I  ending  with  Dom.  Semicadence,  but  repeated);  BEETHOVEN, 
Pfte.  Son.  op.  27,  No.  i,  Adagio  (Part  I  ending  with  a  Semicadence);  HAYDN, 
Symphony  No.  i  (Peters  ed.),  Menuetto,  Parti;  BRAHMS,  Symphony  No.  i, 
Allegretto,  first  18  measures  (probably  a  Two-Part  Song-form,  follo\ved  by 
a  somewhat  extended  complete  repetition ;  Part  I  ends  in  meas.  10  with 
a  Semicadence) ;  BEETHOVEN,  Theme  of  24  Variations  in  D  major,  Part  I ; 
SCHUBERT,  Pfte.  Son.  No.  7,  Allegretto,  Part  I ;  SCHUBERT,  Moment  musical, 
op.  94,  No.  5,  Part  I;  CHOPIN,  Preludes  op.  28,  No.  n  and  No.  22,  Part  I  of 
each;  MENDELSSOHN,  Praeludium  op.  104,  No.  2,  Part  I. 

To  this  category  belong  also  all  examples  of  the  "  Elision  "  (par.  60,  which 
review),  in  which  the  "Cadence"  disappears  altogether  by  the  overlapping 
of  the  contiguous  members.  See  MENDELSSOHN,  Prelude  op.  35,  No.  6 
(Part  II  begins  in  the  middle  of  measure  15,  with  an  Elision  of  the  expected 
Cadence);  also  the  Praeludium  of  the  "  Praeludium  and  Fugue  in  E  minor" 
(without  opus-number),  measures  22-23. 

(b)  Exactly  the  reverse  of  this  peculiarity  (that  just  explained 
being:  a  vague  Cadence  sufficing  to  separate  independent  members) 
is  seen  in  those  places  where  a  complete  Tonic  Cadence  fails  to  sever 
the  connection  between  contiguous  members,  because  the  second  one 
maintains  so  intimate  a  thematic  relation  that  it  necessarily  still 
belongs  to  the  section  in  question.  Under  such  conditions  it  is 
possible  for  a  regular  perfect  Cadence  to  occur  in  the  course  of  t lie 
First  Part  (i.  e.  without  terminating  it).  As  contradictory  of 
the  strict  rule  given  in  par.  70  as  this  appears  to  be,  it  is  not  at  all 
unusual, — especially  near  the  beginning,  where  such  an  unlooked-for 
Cadence  seems  rather  to  serve  the  desirable  purpose  of  establishing 
the  tonality.  For  example  : 


i.     Moderate, 


92.  < 


Par.  93b. 


IKKEGULAR    CADENCES. 

!          s 


169 


Part  II.  FOLK-SONG.        2.     Allegretto. 


r^zn    ~ H — -3-—?°  .    I  - 


*i)  This  is  a  Tonic  perf.  Cad.  of  the  most  unequivocal  kind;  and  yet  it 
does  not  terminate  the  First  Part,  because  the  latter  obviously  runs  on,  in 
unbroken  thematic  connection,  to  the  8th  measure.  See  also  Ex.  62,  4th 
measure. 

*2)  In  this  unique  example  the  Part  begins  with  a  genuine  perf.  Cadence ! 
See  the  Original  (Symphony  in  C,  "Trio"  of  Minuet). 

See  also  MENDELSSOHN,  "Songs  without  Words"  No.  39  (perf.  Cad. 
in  2nd  measure) ;  No.  43  (Part  I,  extended  Period,  with  perf.  Cad.  at  end  of 
Antecedent  Phrase);  No.  44  (Part  I,  the  same;  in  the  last  two  cases  the 
unbroken  thematic  connection  is  established  by  parallel  construction);  No.  42 
(Part  I,  contrasting  Double  period,  with  Dominant  perf.  Cad.  in  the  center). 
A  glance  at  the  beginning  of  the  other  "  Songs  without  Words,"  on  the  other 
hand,  teaches  how,  as  a  rule,  the  composer  aims  to  avoid  this  misleading  use 
of  an  untimely  perf.  Cadence. 

See  further,  CHOPIN,  Mazurka  No.  24,  Part  I ;  SCHUBERT,  Moment  musical 
op.  94,  No.  4,  "Trio"  (5-flat  signature)  first  12  meas.  (group  of  3  Phrases, 
repeated) ;  BEETHOVEN,  Pfte.  Son.  op.  31,  No.  i,  Adagio  (Part  I  a  very  broad 
Double  period,  parallel,  with  Tonic  perf.  Cad.  in  the  center);  Pfte.  Son.  op. 
27,  No.  2,  ist  Movement,  Part  I  (23  measures  in  length — including  a  5-meas. 
Prelude, — and  containing  tr.'o  perfect  Cadences  in  its  course). 


170  MODULATION.  Par.  Ma. 

This  trait  is  very  common  in  repetitions.  See  MEXDELSSOHN,  "  Song 
•without  Words"  No.  4  (the  perf.  Cad.  in  meas.  4  does  not  mark  the  end  of  the 
First  Part,  because  the  4  following  measures  are  a  repetition);  No.  n  (at 
the  beginning  of  the  5th  meas.  from  the  end  there  is  a  strong  perf.  Cadence, 
but  the  following  member  is  not  a  Codetta,  because  it  belongs  to  the  foregoing 
Phrase,  as  evident  repetition  of  the  2nd  half). 

(c)  It  is  clear  that  both  of  the  above  irregularities  of  Cadence 
are  counteracted  by  the  thematic  conditions  attending  them.  In 
each  case  it  is  the  unmistakable  import  of  the  thematic  arrangement 
(in  reference  to  melody,  rhythm,  character,  etc.)  that  overpowers 
the  ordinary  forcible  agency  of  the  Cadence,  and  renders  it  at  one 
time  unable  to  prevent,  and  again  unable  to  effectuate,  the  "sepa- 
ration "  of  members,  which  is  its  chief  purpose  in  form.  This 
evident  predominance  of  the  Idea  over  the  technical  Detail  is  an 
additional  corroboration  of  the  justice  of  the  classification  defended 
in  the  footnote  on  p.  138. 

2.  MODULATION. 

94.  In  addition  to  what  was  said  in  par.  88  about  the  modu- 
latory  design  of  the  Second  Part,  the  student  must  be  reminded 
that  changes  of  key  are  very  important  and  necessary  indeed,  in 
all  of  the  Parts  (least,  it  is  true,  in  Part  I).  This  refers  not  only 
to  complete,  or  lengthy,  modulations,  but  particularly  to  transient 
digressions,  which  heighten  the  color  of  the  Phrases,  \vithout 
cancelling  the  ruling  effect  of  the  principal,  or  dominating,  tonality. 

(a.)  These  modulations  (i.  e.,  transient  ones,)  need  not  even 
be  limited  to  the  five  Next-related  keys,*  but  may  extend  to  any 
of  the  Remotely-related  ones,**  at  least  occasionally,  and,  of 
course,  on  condition  of  returning  immediately  (or  soon)  to  the 
original  tonality,  or  to  its  close  neighborhood.  The  Remotely- 
related  keys  are  :  (i)  the  Opposite  mode  of  the  same  tonic  (for 
instance,  C  major— C  minor,  and  vice  versa)  ;  (2)  the  Stride  (C 
major-f  minor,  and  vice  versa)  ;  (3)  The  Mediant-keys  C-E,  C-Ab ; 
C— Eb,  C— A,  etc.)  ;  and  to  these  may  be  added,  (4)  all  keys 
accessible  through  the  coincidence  of  important  pivotal  tones. 

A  superb  example  of  this  quality  of  modulation  will  be  found  in  SCHUBERT, 
Impromptu  op.  90,  No.  3  (G  major)  measures  26  to  10  from  the  end  (first 
Phrase  of  Coda,  and  its  repetition);  the  keys  touched  in  close  succession  are 
G  maj.-c  minor-G  maj.-c  min.-ab  minor-G. 

*  "  The  Material  vised  in  Mus.  Composition,"  paragr.  266. 
**The  same,  paragr.  267-269;  par.  281,  282,  288;  par.  289. 


Par.  94c.  MODULATION.  171 

(b)  In  making  more  lengthy  modulations,  care  must  be  taken 
not  to  remain  in  any  other  key  (whether  related  to  the  original  key 
or  not)  long  enough  to  create  the  impression  of  a  central  or  primary 
tonality  at  that  place.     The  original  tonality, — the  principal  key,  in 
which  the  composition  is  written, — must  be  regarded  as  the  AXIS, 
about  which  the  entire  structure  revolves.     Any  protracted  absence 
from  this   axis,    or,   more  properly,  any  undue   retention   of  some 
other  key,  would  have  the  effect  of  shifting  the  axis,  or  of  replacing 
it  by  a  foreign  one,  and  would  thus  tend  to  destroy  the  necessary 
centralization  of  the  keys  and  chords. 

On  the  other  hand,  a  temporary  shifting  of  the  modulatory 
axis  (subject  to  the  above  restriction)  may  constitute  one  of  the 
best  modes  of  individualizing  certain  Divisions  of  the  architectural 
design, — for  example,  the  Second  or  Middle  Part  in  the  tripartite 
forms.  Hence,  some  other  key  (probably  related  to  the  principal 
one)  may  be  chosen  upon  entering  a  new  Part,  or  still  larger 
Division,  and  be  allowed  to  prevail  as  temporary  axis  of  that 
section  ;  and  the  extent  of  the  new  key,  and  its  distance  from  the 
original  key,  \vill  serve  to  determine  the  degree  of  independence 
and  individuality  of  the  section  in  question.  See  par.  88. 

This  is  illustrated  in  SCHUMANN,  Humoreske,  op.  20,  first  Movement 
(3-Part  Song-form  with  Coda;  Part  I,  repeated  Phrase  in  the  key  of  "two 
flats  "  ;  Part  II,  a  Group  of  three  Phrases,  throughout  which  the  key  of  "  six 
flats"  prevails;  Part  III,  literal  Recurrence  of  Part  I). 

(c)  Two  very  useful  general  rules  of  modulation  in  "Form" 
are  : 

(1)  Avoid   a   series   (especially  a   long   series)   of   modulations 
in    the    same    direction    (i.    e.    successively    increasing    sharps,    or 
flats ;   or  successively  decreasing  the  same,  in  more  or  less  regular 
progression)  ;     modulate    BEYOND    the    desired    key,     if    possible 
quickly,   by  some   extraneous   transition,   and  then  turn  back  into 
the   latter.      For    instance  :    if    aiming    for    four    sharps,    from    C 
major,  modulate  into  Jive  sharps,  and  then  turn  back  to  four.* 

(2)  After  any  remote   modulation,   it   is   better   to   turn   back 
into  some  intermediate  key,  than  to  remain  upon  the  new  key,  or 
to  pass  on  beyond  it. 

*It  is  well  for  the  student  to  bear  in  mind  that  the  fundamental  modulatory 
movements  are  best  denned  by  SIGNATURE,  not  by  key-note. 


172  THE    DYNAMIC    DESIGN.  Par.  95a. 

Both  of  these  must  be  accepted  as  general  rules  only,  subject  to  many 
exceptions.  As  usual,  the  best  source  of  information  for  the  student  on  this 
point  is  classic  or  standard  musical  literature,  to  the  analysis  of  which  he 
should  devote  himself  most  assiduously. 

(d)  The  general  modulatory  design  of  an  entire  composition, 
almost  regardless  of  its  size,  is  as  follows  : 

At  the  beginning,  a  sufficient  pause  in  the  original  key  to 
establish  the  principal  tonality ;  then  a  general  tendency  upward 
(toward  the  Dominant  keys  :  those  whose  signatures  contain  one 
sharp  more  or  one  flat  less  than  the  original  signature), — extending 
approximately  one-quarter  or  one-third  of  the  entire  distance ; 
then  a  more  or  less  ample  digression,  or  a  modulatory  oscillation 
between  various  keys  in  optional  direction  and  measure ;  and 
finally,  somewhere  during  the  last  sections,  an  inclination  toward 
the  Subdominant  keys  (those  whose  signatures  contain  one  sharp 
less  or  one  flat  more  than  the  original).  See  par.  Jy,  2nd  clause. 

This  plan  is  quite  accurately  followed  in  HAYDN,  Symphony  No.  3  (Peters 
ed.),  finale,  first  20  measures. 

See  also  MENDELSSOHN,  "Song  without  Words  "  No.  48  (Part  I,  C  major, 
passing  into  "one  sharp";  Part  III,  "natural  scale";  Coda,  largely  "one 
flat");  also  Ex.  28(4  measures)  where  it  is  exhibited  on  a  very  small  scale; 
Ex.  47,  No.  i ;  Ex.  71;  72;  75.  There  is  scarcely  an  example  to  be  found  in 
classic  music,  in  which  this  general  modulatory  line  is  not  more  or  less  com- 
pletely and  emphatically  traced,  not  only  in  the  whole,  but  in  each  independent 
Division. 

For  examples  of  peculiar  modulatory  design,  see  MENDELSSOHN,  "  Wed- 
ding-March "  (in  C ;  Part  I  begins  with  a  distinct  exposition  of  e  minor) ; 
BEETHOVEN,  Pfte.  Son.  op.  26,  Scherzo  (A|?  ;  Part  I  begins  with  exposition 
of  E[?) ;  op.  27,  No.  2,  Allegretto  (the  same  idea) ;  Pfte.  Son.  op.  90,  2nd 
Movement  (unusual  prevalence  of  principal  key  throughout  entire  Principal 
Theme);  Violin-Concerto,  op.  61,  2nd  Movement  (the  same  idea);  Symphony 
No.  3,  3rd  Movement  (strangely  meagre  representation  of  the  principal  key,  up 
to  the^"in  the  course  of  Part  III).  Ex.  91  contains  no  modulation  whatever. 

3.    THE  DYNAMIC  DESIGN. 

95.  The  dynamic  design  refers  to  the  use  and  disposition  of 
the  various  grades  of  tone-power,  i.  e.,  pianissimo,  piano,  forte, 
fortissimo,  with  all  their  attendant  shades  of  force,  and  all  the 
auxiliary  tone-effects  to  which  these  distinctions  may  give  rise 
(crescendo,  diminuendo,  sforzando,  etc.). 

(a)  While  it  is  quite  certain  that  no  definite  rules  for 
a  dynamic  design  can  be,  or  should  be,  given,  it  is  equally  certain 


Par.  90.  CONTRAST.  173 

that  some  such  design  nevertheless  exists  in  every  good  composi- 
tion, whether  defined  beforehand,  or  in  the  course  of  conceptive 
action  ;  and  it  is  necessary  for  the  student  to  realize  and  correctly 
estimate  the  importance  of  these  factors  as  a  means  of  adding 
life  to  the  musical  image,  and  of  emphasizing  essential  traits  of 
the  architectural  design, — just  as  the  effects  of  light  and  shade 
add  vitality  and  distinctness  of  character  to  a  picture,  a  landscape, 
or  a  theatrical  scene.  And,  furthermore,  there  is  an  element  of 
suggestion  in  the  definite  purpose  of  making  a  crescendo  or  dimi- 
nuendo, a  pp  or  ff,  which  acts  as  a  stimulus  upon  the  imagination, 
much  more  powerfully  than  might  be  suspected  before  putting  it 
to  the  test. 

The  general  effect  of  these  dynamic  distinctions  is  fully  enough  understood. 
Attention  is  simply  called  to  the  change  in  power  as  a  means  of  increasing 
the  interest  in  a  repetition  (as  seen  in  Ex.  56);  and  as  a  means  of  accentuating 
the  beginning  of  a  new  section  by  a  sudden  change  from/  toforff,  or  from 
f  to  /;  see  BEETHOVEN,  Pfte.  Son.  op.  2,  No.  3,  first  Movement,  measure  13; 
also  measures  25-27;  Ex.  65,  note  *i);  Ex.  95,  note  *i);  Ex.  72;  Ex.  73;  Ex. 
75 :  Ex.  88,  beg.  of  Part  III ;  Ex.  89,  note  *2). — Observe,  also,  the  dynamic 
traits  of  Exs.  64,  74,  76,  83,  86,  91  and  99;  and  of  all  future  quotations. 

(b)  Hand  in  hand  with  these  factors,  often  almost  inseparably, 
go  those  shades  of  expression  which  refer  to  the  rate  of  motion, 
(i.  Q.,ritardando,  accelerando ,  sostenuto,  meno  or pih  mosso,  etc.). 

See  Ex.  83;  Ex.  86;  the  /-SN  in  Ex.  56;  Ex.  76;  MENDELSSOHN,  "Song 
without  Words"  No.  39,  last  n  measures.  Compare  par.  97*. 

4.   CONTRAST. 

96.  In  paragr.  40,  which  review,  the  significance  of  Unity 
and  Variety  was  demonstrated,  in  their  bearing  upon  the  smaller 
factors  of  creative  structure. 

As  the  dimensions  increase,  these  same  elements  are  more  apt 
to  be  recognized  as  the  attributes  of  SYMMETRY  and  CONTRAST  ; 
and  while  variety  and  unity  are  originally  of  equal  importance, 
they  gradually  and  steadily  diverge,  so  that  in  proportion  to  the 
magnitude  of  the  design,  the  necessity  for  Symmetry  decreases, 
and  the  need  of  the  element  of  Contrast  becomes  more  and  more 
imperative. 

It  is  so  obvious  that  Symmetry  is  of  less  importance  in  musical  form  than 
Contrast,  that  some  composers  deny  its  claims  altogether,  and  labor  to  avoid 
all  evidences  of  symmetrical  structure  in  their  works.  But  any  such  extreme 


174  STYLE.  Par.  97a. 

conception  must  be  condemned.  It  is  more  just  to  moderate  this  aim  by 
merely  avoiding  the  obtrusive  evidences  of  Symmetry;  and,  at  the  same  time, 
to  restrain  all  exaggerations  of  Contrast  by  constant  and  serious  regard  for  the 
vital  condition  of  Unity. 

This  law  is  clearly  recognizable  in  all  the  given  details  of 
the  Part-forms,  whence,  for  instance,  the  inference  may  be  drawn 
that  it  is  not  nearly  as  necessary  to  preserve  equality  of  size  in 
successive  Parts,  as  it  is  in  successive  Measures ;  and  that 
contrast  in  style  and  character  will  be  more  pronounced  between 
consecutive  Parts  than  between  consecutive  Phrases.  Hence  it 
is  that  the  student  should  now  begin  to  devote  a  part  of  his 
attention  to  the  elements  of  variety  and  contrast ;  and  while  he 
must  scrupulously  observe  moderation,  Unity,  and  a  rational 
degree  of  formative  and  logical  agreement,  he  must  not  forget  that 

THE    BANE    OF    ALL    ART-CREATION    IS    MONOTONY. 

Glance  at  the  evidences  of  Contrast  in  Ex.  48,  No.  2 ;  Ex.  53 ;  Ex.  60 
(BEETHOVEN,  Pfte.  Son.  op.  2,  No.  i,  Finale,  ist  Theme);  Ex.  83;  Ex.  86. — 
Observe,  in  MENDELSSOHN,  "  Song  without  Words"  No.  i,  how  welcome  the 
change  in  the  5th  measure  of  Part  II,  in  a  composition  where  uniformity 
of  style  becomes  almost  oppressive.  Note  the  brilliant  effect  of  the  Coda  in 
No.  3,  with  its  change  in  rhythmic  style.  Also  the  interludes  in  No.  23. — 
But  observe,  too,  how  wisely  the  unity  of  the  -whole  is  guarded,  in  each  case. 

5.   STYLE. 

9T.  The  germs  of  those  distinctions  in  Style  which  concern 
the  harmonic  (and,  to  a  certain  extent,  the  rhythmic)  details  of 
a  musical  sentence,  are  enumerated  in  par.  14  and  15,  and  have 
been  unavoidably  involved  in  all  the  foregoing  Exercises.  But 
STYLE,  in  the  broader  sense  of  the  term,  depends  upon  certain 
general  characteristics,  to  which  the  attention  of  the  student  must 
now  be  directed  ;  namely  : 

(a)  Upon  the  choice  of  TIME  ;  i.  e.,  the  use  of  the  Duple  or 
Triple  rhythmic  group  (as  respectively  embodied  in  the  |  or  £  Time 
of  the  March,  etc.,  and  in  the  |  or  |  Time  of  the  Waltz,  Barcarolle, 
etc.).  The  characteristic  effect  of  each  of  these  two  fundamental 
classes  is  so  generally  appreciated,  that  it  suffices  here  to  observe 
that  duple  measure  is  the  more  vigorous,  and  triple  measure  the 
more  graceful  species.  There  are  no  other  species,  unless  the 
peculiarity  of  |  (or  |)  Time,  and  of  \  (or  J)  Time,  be  regarded 
as  a  radical  metrical  difference. 


Par.  97d.  STYLE.  1 75 

(b)  Upon   the   choice   of  TEMPO;    i.  e.    rate   of  speed,    from 
Adagio,  through  Largo,  Larghetto,  Andante*  Allegretto,  Allegro 
and  Presto,  up  to  Prestissimo. 

The  deep  significance  of  this  distinction  will  appear  upon  comparing 
MENDELSSOHN,  "  Song  without  Words"  No.  22,  with  No.  10,  and  these  again 
with  No.  36;  or  the  4  Movements  of  Beethoven's  Pfte.  Son.  op.  2,  No.  2,  one 
with  another. 

In  indicating  the  tempo,  it  should  be  borne  in  mind  that  the  given  rate— 
for  instance,  Allegro — refers  to  the  beat  in  the  adopted  Time-signature:  in 
|  Time  it  must  mean  that  the  Sth-notes  pass  at  an  allegro-rate  of  speed ;  in  | 
the  same  rate  would  apply  to  the  quarter-notes.  The  uncertainty  which 
prevails,  because  of  a  general  misunderstanding  or  violation  of  this  rule,  can 
be  dispelled  by  employing  the  metronome-marks, — e.  g.  ,N  or  'or  j  =  6o,  etc. 

(c)  Upon  the  choice  of  PRINCIPAL  MODE,  i.e.,  major  or  minor, 
the   characteristic    distinctions  of    which   are  doubtless  sufficiently 
palpable  to  every  musical  sense. 

(d)  Upon     certain    RHYTHMIC    peculiarities,     which,     while 
available    at    any    time    and    in    any    consistent    connection,    have 
become   chiefly   characteristic   of  certain   conventional  varieties   of 
composition  ;    for  example,   the   respective   typical  rhythms  of  the 
Polonaise,   the  Bolero,   the  March,   Minuet,   Mazurka,   etc. 

It  would,  however,  be  a  deplorable  limitation  of  the  student's  resources, 
were  he  to  confine  his  experiments  in  "rhythmic  style"  to  those  popular 
forms  of  which  a  certain  (permanent)  rhythmic  figure  is  the  ruling  element. 
Unity,  on  the  one  hand,  will  dictate  close  adherence  to  the  adopted  rhythmic 
figure  throughout  the  section,  and  even  on  to  the  end  of  the  Song-form, — as 
in  MENDELSSOHN,  "Songs  without  Words"  Nos.  i,  8,  14,  21,  23,  36,  43;  but 
Contrast,  with  its  equally  just  and  persistent  claims,  must  not  be  disregarded, 
in  planning  and  executing  the  rhythmic  design.  Of  the  "  Songs  without 
Words  "  cited  above,  Nos.  8,  21,  and  23  bear  more  or  less  frequent  and  striking 
traces  of  the  writer's  intention  of  occasionally  abandoning  the  predominant 
rhythmic  motive. 

See  BEETHOVEN,  Symphony  No.  7;  observe  how,  in  each  one  of  the 
4  Movements,  the  prevailing  rhythmic  figures  fix  the  general  character  or 
style.  Also  SCHUBERT,  Fantasie,  op.  78,  3rd  Movement  (Menttetfo) ;  Momens 
musicals,  op.  94,  No.  2;  No.  4,  "Trio"  (s-flat  signature);  No.  5;  and  ponder 
upon  the  resources  of  interest  and  variety  suggested  by  the  following 
manipulations  (in  different  Divisions,  however,  be  it  understood)  of  a  primary 
rhythmic  figure : 

*  "  Andantino  "  should  be  used  with  discrimination.  For  the  definition 
of  this  frequently  misinterpreted  term,  see  BAKER,  "Dictionary  of  Musical 
Terms." 


176 


STYLE. 


Par.  97d. 


i.     Adagio. 


Allegro. 


Original  form. 


Menuetto  tempo, 
** 


later : 


A  11,-gretto. 


later  : 


Allegretto.  BEETHOVEN,  op.  34. 


later  : 


2.     A  ndanfe  con  moto, 


later : 


Original  form. 
A  ttegro. 

*=i=p^_*_£ 


•  r**i=p==  =irr^ jT^r 

^-^=q^ff==pt^=^ 


later : 
^ ^  Maestoso. 

later: 


Mazurka.  All'gro. 

n      ,_ <v>^  U   •(* 

later :  later : 


The  systematic  demonstration  of  this  fertile  rhythmic  process  must  be 
deferred  until  the  pupil  has  undertaken  the  study  of  "  Applied  Counterpoint ;" 
but  he  is  already  entitled  to  such  uses  of  it  as  his  stimulated  imagination  may 
achieve.  (It  is  somewhat  akin  to  the  processes  described  in  par.  ~2<y  and  32.) 

There  is  one  general  rule,  in  reference  to  rhythmic  style,  which 
must  be  respected,  namely  : 

The  less  striking  (i.  e.,less  irregular)  a  rhythmic  figure  is,  the 
longer  may  it  be  adhered  to  without  incurring  monotony ;  and, 
inversely,  the  more  irregular  a  rhythmic  figure  is,  the  sooner 
should  it  be  cxclianged  for  a  simpler  figure. 


Par.  07e.  STYLE.  177 

(e)  The  well-nigh  infinite  combinations  of  the  above  distinc- 
tions, including  those  given  in  par.  95  and  96.  afford  that  complex 
of  resources  out  of  which  the  scarcely  definable  (for  convenience 
called  EMOTIONAL)  elements  of  musical  thought  are  evolved. 
These  resources  cannot,  and  should  not,  be  theoretically  classified; 
it  is  the  duty  of  the  individual  student  to  investigate  them  for 
himself  and  develop  his  taste  and  individual  style  according  to 
what  he  may  discover. 

But  against  one  very  popular,  and  unquestionably  mischievous,  \ 
fallacy  he  must  be  earnestly  warned,  namely:  the  error  of  supposing 
that  ^Insic  can  definitely  indicate  any  object,  tell  a  storv,  express 
any  idea  clearly,  portray  any  incident,  or  transmit  emotional  con- 
ditions with  e~ccn  approximate  distinctness.  THIS  is  NOT  THE 
MISSION  OF  THE  TONE-ART.  And  insisting  upon  its  use  in  the 
service  of  other  than  intrinsically  musical  ideas,  is  a  degradation 
of  its  ethereal  and  lofty  calling. 

At  the  same  time,  the  student  must  quite  as  fully  realize  what  Music 
can  do :  Music  can  tiro  use  and  can  reflect  emotional  states,  sometimes  with 
greater  power,  and  always  with  more  searching  keenness,  than  other  arts.  But 
it  is  not  possible  to  foretell  which  emotional  state  will  be  aroused,  save  in  an 
extremely  general  way;  and  the  subtility  of  musical  impressions  is  the  very 
attribute  which  distinguishes  the  emotional  magnetism  of  Music  from  all 
other  emotional  stimuli,  and  robs  these  impressions  of  all  definiteness. 

Further,  Music  can  also  roughly  delineate  and  imitate  (by  its  melodic 
"  lines,"  its  rhythmic  "  movements,"  etc.)  certain  primary  motions  of  the 
material  world;  but  with  only  just  enough  clearness  to  suggest, — and  only 
suggest, — any  one  of  a  thousand  similar  material  motions.* 

This  imposes  the  undeniably  binding  duty  upon  the  composer,  of  so 
choosing  these  accidental  elements  of  suggestion  as  to  avoid  incongruity. 
For  example,  in  a  "  Slumber  "-song  constant  or  frequent  fortissimi  would 
be  inappropriate, — except  as  an  exposition  of  "  Humor  in  Music."  For  an 
exquisite  example  of  appropriate  musical  suggestiveness,  see  SCHUMANN, 
op.  15,  No.  12  ("  Child  falling  asleep  ");  especially  the  last  6  measures,  in  which 
the  extraordinary  widening-out  of  the  chord-forms  suggests  the  distorted 
fancies  of  half-slumber,  while  the  tired  little  soul  floats  out  into  oblivion  upon 
the  unresolved  |  chord  of  the  Sub-dominant.  He  who  can  play  or  hear  this 
passage  without  deep  emotion,  has  not  learned  the  pcwer  of  the  gentle  Art 
of  Tone ! 

The  pupil  need  make  no  definite  effort  to  apply  these  general 
truths.  He  should  "  bear  them  in  mind  "  and  ponder  over  them, 

*See  the  Revue  philosophique  for  Febr.,  1893,  pages  124—144  (translated 
in  the  "  Music  Review,"  July  and  August,  1894). 


178  CODA    AND    CODETTA.  Par.  9Ra. 

and  leave  the  issue  to  the  absorbing  and  assimilating  processes 
peculiar  to  his  own  mental  organism.  In  the  meantime  he  is  to 
follow  all  the  given  RULES  to  the  rery  letter. 


CODA  AND  CODETTA. 

98.  The  difference  between  these  two  terms  is  solely  one 
of  extent, — "Coda"  being  the  original  designation  for  an  indepen- 
dent ending,  and  "Codetta"  signifying  "a  small  Coda."  The 
distinction  may  be  formulated  with  greater  accuracy  by  calling 
every  SINGLE  addition  at  the  end  (even  when  repeated  and 
extended)  a  CODETTA,  and  defining  the  CODA  as  a  SERIES  OK 

CODETTAS. 

The  latter  (a  series  of  Codettas)  is  extremely  unlikely  to  appear  anywhere 
in  the  course  of  a  composition;  hence  it  is  safe  to  say  that  the  term  Coda  will 
be  applied  only  to  the  ending  of  the  %\-hole,  whereas  a  Codetta  IIKIV  l»-  <n/t/r</  /<> 
any  sufficiently  definite  member  or  Part,  even  in  the  course  of  the  design. 

(a.)  The  object  and  character  of  the  Codetta  are  defined  in 
par.  51,  which  carefully  review,  with  all  the  illustrations;  and  see 
also  par.  27  and  par.  32. — The  primary  purpose,  which  corresponds 
to  the  "  Extension  of  a  Phrase-cadence,"  remains  the  same  through 
all  the  grades  of  dimension  in  which  it  is  achieved ;  and  the 
dimension,  or  length,  of  the  Codetta  will  increase  in  a  more  or 
less  regular  ratio  to  the  size  of  the  body  of  the  design  to  which 
it  is  affixed. 

These  proportions  may  be  approximately  graded,  as  follows, — 
it  being  remembered  that  a  complete  perf.  cadence  usually  precedes 
the  Coda  or  Codetta,  to  mark  the  limit  of  the  body  of  the  design. 

(1)  The  shortest  cadence-extension  is  the  reiteration  (perhaps 
2,  3,  or  4  times)  of  the  single  final  Tonic  chord. 

(2)  The  next  larger  extension  consists  in  a  repetition  (perhaps 
2  or  3  times)  of  the  tivo  cadence-chords  (V-I). 

(3)  The  next  larger  formation  is  somewhat  apt  to  be  a  brief 
Codetta    (i.   e.,    not  an  extension    of  the    given    cadence,    but    an 
"appendix,"  independent   of   the   latter),  about   two  measures  in 
length;  generally  repeated,  and  possibly  extended  as  at  (i)  or  (2). 

(4)  The  next  larger  independent  ending  would  be  a  Codetta 
of  Jour  measures,  probably  repeated  and  extended. 


Par.  98b.  CODA    AND    CODETTA. 


'79 


(5)  The    next    larger   formation    might   be    such   a   4-measure 
Codetta   (repeated),   followed  by  another  of  2   measures  (repeated 
and  extended).      This  series  of  Codettas  \vould  be  termed  a  Coda. 

(6)  A    still    broader    Coda    would    consist    of    an    8-measure 
Codetta  (possibly  repeated),  followed  by  one  of  4  measures   (prob- 
ably repeated),  and  another  of  2  measures  (almost  certainly  repeated 
and  extended).      No  larger  form  of  Coda  would  be  appropriate  in 
the  present  grade  of  forms. 

Nos.  2  and  i  of  this  schedule  will  suffice,  as  a  rule,  for  the 
"Phrase";  Nos.  3,  2,  and  i  for  a  large  Phrase,  or  "Period"; 
Nos.  4,  2  and  i  for  a  large  Period,  Double  period,  or  "Part"  ;  Nos. 
5.  2  and  i,  or  No.  6,  for  an  entire  2-Part  or  3-Part  "  Song-form." 
It  will  be  observed  that  the  proportionate  length  is  obtained  by 
adding  a  higher  (larger)  grade,  and  not  by  singling  out  any 
special  grade ;  in  other  words,  the  smaller  grades  are  all  expected 
to  follow,  in  order  to  preserve  the  tapering  form.  But  it  must 
be  distinctly  understood  that  this  entire  schedule  is  only  an  approxi- 
mate theoretical  table,  and  not  necessarily  practically  binding,  save 
as  it  illustrates  an  important  and  generally  valid  principle. 

An  exact  illustration  of  this  tapering  form  is  found  in  CHOPIN,  Mazurka 
35  (°P-  56?  No.  3),  last  32  measures  (Coda  of  5  sections:  an  8-meas.  section, 
with  repetition;  then  a  4-meas.  Phr.  with  repetition;  then  a  2-meas.  Codetta, 
with  repetition;  then  one  measure,  repeated,  and  a  final  reiteration  of  the  last 
chord). 

CHOPIN,  Nocturne  No.  8  (op.  27,  No.  2),  last  15%  measures  (4-meas. 
Codetta,  repeated;  2-meas.  Codetta,  repeated;  Tonic  extension). 

MENDELSSOHN,  "  Song  without  Words  "  No.  30,  last  19  measures  (4-meas. 
Codetta,  repeated;  2  measures,  repeated;  one  measure,  4  times;  final  chord 
through  3  measures). 

BEETHOVEN,  Bagatelle  op.  33,  No.  2,  last  28  measures  (similar);  Bagatelle 
op.  33,  No.  i,  last  13%  measures  (4  measures,  repeated;  2  measures,  repeated 
twice ;  one  measure) ;  Bagatelle  op.  33,  No.  6;  see  also  op.  33,  Nos.  3,  4  and  7- 

MENDELSSOHN,  "  Songs  without  Words,"  No.  n  (last  8%  measures);  No. 
12  (last  12  measures);  No.  14  (last  n  meas.);  No.  19  (last  15%  meas.);  No.  34 
(last  17  meas.);  No.  42  (last  15  meas.). 

In  the  "Songs  without  Words,"  Nos.  i,  13,  25,  etc.,  the  entire  "Song" 
has  no  more  than  a  brief  Codetta.  In  No.  24  the  Coda  is  very  long  (44^ 
meas.).  In  No.  6  there  is  first  a  Codetta,  and  then  a  Postlude  corresponding 
to  the  Prelude.  In  Nos.  7,  8,  10,  etc.,  the  formation  of  the  Coda  is  irregular, 
i.  e.,  not  agreeing  with  the  above  schedule. 

(b)  It  has  already  been  stated  that  a  Codetta,  being  somewhat 
independent  of  the  body  of  the  design,  may  also  be  independent  in 


l8o  CODA    AND    CODETTA.  Par.  98c. 

its  thematic  structure.  This  is  a  little  more  likely  to  be  the  case 
with  larger  Codettas,  and  Codas,  whereas  the  smaller  appendages 
are  less  likely  to  contain  new  motives.  The  following  examples 
will  sufficiently  illustrate  the  derivation  and  thematic  character  of 
the  Coda  : 

MENDELSSOHN,  "  Songs  without  Words  "  Nos.  3,  6,  7,  14,  21,  25,  26.  31,  37  ; 
here  the  Coda  or  Codetta  is  in  each  case  derived  from  the  first  Phrase  of  Part 
I;  often  by  "Melody-expansion"  (par.  32).  In  No.  15  it  is  developed  out  of 
the  end  of  Part  III. 

In  Nos.  29,  32,  44,  46  it  is  a  reflex  of  Part  Second.  This  is  more  logical 
than  it  is  usual,  in  composition ;  for  the  Coda  will  follow  Part  III  most 
naturally  in  the  same  way  that  Part  II  followed  its  First  Part;  and  Part  II, 
if  independent  of  Part  I,  may  need  just  such  corroboration  (see  par.  103). 
It  will  be  observed  that  in  this  case  the  melodic  member  used  will  appear  in 
two  different  tonalities ;  at  first  in  the  key  or  harmony  of  the  Second  Part,  and 
in  the  Coda, — of  course, — transposed  to  the  principal  key. 

In  Nos.  22  and  43,  and  in  op.  72,  No.  4  (MENDELSSOHN),  the  Coda  is 
a  contracted  recapitulation  of  Parts  II  and  III.  In  Nos.  u,  12,  19,  36,  48, 
it  contains  more  or  less  new  melodic  material. 

(c)  The  most  appropriate  place  for  a  Codetta  is  at  the  end 
of  the  entire  structure,  where,  according  to  the  dimension  of  the 
body,  it  may,  if  necessary,  expand  into  a  Coda. 

But  the  possibility  of  thus  rounding  off  an  earlier  section  of 
the  form  has  been  touched  upon,  and  examples  of  a  Codetta  to  the 
Second  Part  have  already  been  seen  (par.  89$,  last  clause). 

Far  more  natural  and  customary  than  this,  however,  is  the 
addition  of  a  brief  Codetta  to  the  First  Part,  usually  with  repeti- 
tion and  extension.  This  presupposes  that  the  design  of  the  entire 
Song-form  is  somewhat  broader  than  usual. 

See  MENDELSSOHN,  "Song  without  Words"  No.  39,  last  2  measures  of 
Part  I. 

HAYDN,  Symphony  No.  3  (Peters  ed.),  Menuetto,  Part  I;  Symph.  No.  4,, 
Menuetto,  Part  I;  Symph.  No.  8,  Menuetto,  Part  I;  No.  9,  Menuetto,  Part  I. 


EXERCISE  26. 

A.  An  example  in  major,  (ordinary  Complete  3-Part  Song-form  as  in 
former  chapter,)  with  such  application  of  the  irregular  Cadence-conditions 
(par.  93)  as  may  be  appropriate  ;  with  greater  modulatory  freedom  (par.  94) ; 
and  with  some  dynamic  design, — the  Song  to  contain  at  least  one  pp  and  one 
ff,  disposition  optional  (par.  95).  A  Coda  is  to  be  added  (par.  98). 

Also  a  similar  example  in  minor,  with  Coda. 


Par.  99a.  THE    INCOMPLETE    J-PAKT    SONG-FORM.  l8l 

B.  A  similar  example  in  Adagio  tempo  (par.  97^),  with  some  regard  to 
the  conditions  explained  in  par.  96;  and  with  a  Coda. 

An  example  in  Presto  tempo,  with  a  Codetta  to  Part  I,  and  a  Coda  to  the 
whole.  

C.  Optional,  (but  simple  3-Part  form).     See  par.  137. 


CHAPTER  XIV. 
THE  INCOMPLETE  3-PART  SONG-FORM. 

99.  In  the  Incomplete  (or  abbreviated)  form,  the  Third  Part 
is  considerably  shorter  than  Part  /,  in  consequence  of  reproduc- 
ing only  a  portion,  instead  of  the  whole,  of  the  latter. 

It  is  evident  that  this  reproduced  portion  must,  however, 
include  the  very  first  member  of  Part  I,  at  least,  in  order  to  fulfil 
the  essential  condition  of  the  tripartite  design,  i.e.,  the  return  to 
the  beginning  (par.  Sia;  par.  84$,  4th  clause).  A  single  measure, 
if  of  somewhat  striking  character,  may  be  sufficient  to  establish 
this  distinction  ;  but,  as  a  rule,  no  less  than  an  entire  Phrase  of 
Part  I  recurs,  as  Part  III. 

(a)  If  the  First  Part  is  a  Period  of  parallel  construction, 
Part  III  may  appear  to  be  the  Consequent  Phrase  ;  or  it  may  be 
combined  out  of  the  essential  members  of  both  Phrases.  But 
if  the  construction  of  Part  I  is  contrasting,  or  if  it  consists  of 
a  Group  of  dissimilar  Phrases,  then  the  first  of  these  Phrases  must 
constitute  the  body  of  Part  III. 

The  difference  between  the  "Incomplete"  and  the  "Incipient"  3-Part 
Song-form  is  discoverable  in  the  extent  (or  form)  of  the  Second  Part.  In 
the  Incipient  form,  both  Part  III  and  Part  II  are  so  brief  as  to  constitute 
together,  apparently,  no  more  than  the  equivalent  of  Part  I ;  in  the  Incomplete 
form,  on  the  contrary,  Part  II  is  a  full-fledged  "  Part,"  about  the  identity 
of  which  there  can  be  no  question,  not  even  of  quantity,  while  Part  III  is 
a  decidedly  contracted  recurrence  of  the  First  Part.  Thus : 


Phr. 

Phr.          Phr.     || 

Part  Period 

=  the  Inc 

Phr.    | 
V  Hid)  1 
Per 

. 
ipient  3-Part  Song-form. 

Song-form. 
Complete  form. 

I 
Pe 

ii    v  in  (i).  ||  = 

iod            I      Phr.           Phr. 

11     i     v 

Period            ! 

II     V  ni(l) 

Per.  or  Group 

Period 

II 

optional 

iod            || 

I        V 

11 

V  HI    (I,V 

182 


For  illustration  : 

A.fsai 


THE    INCOMPLETE    3-PART    SONG-FORM. 


Par.  99a. 


94. 


==?        \ 


BEETHOVEN. 


-J--4 


m 


Par.  99c.  THE    INCOMPLETE    J-PART    SONG- FORM.  183 

*i)  The  First  Part  is  a  full  parallel  Period,  of  8  measures;  Part  II  is  also 
8  measures  in  length  ;  Part  III  contains  only  six  measures,  in  Phrase-form. 
At  first  glance,  3  or  4  of  these  last  measures  may  seem  to  be  derived  from 
the  Co>isc(]nt'?it  of  Part  I ;  but,  while  they  correspond  to  the  latter  in  register 
only,  their  thematic  agreement  with  the  first  Phrase  is  complete.  The  5th 
measure  is  derived  from  the  last  measure  of  Part  I,  and  a  6th  measure  is  added 
for  the  sake  of  symmetry. 

See  also  :  MENDELSSOHN,  op.  82,  Theme  ;  op.  83,  Theme;  op.  72,  No.  4; — 
in  each  case  Part  III  is  just  one-half  the  contents  of  the  First  Part ;  apparently 
the  2nd  half,  but  always  including  the  beginning. 

MENDELSSOHN,  "Songs  without  Words"  Nos.  12;  20;  15;  43.  In  No.  3, 
the  First  Part  is  a  Group  of  six  Phrases;  Part  III  contains  the  ist,  2nd  and 
6th  of  these  Phrases,  besides  3  other  (intermediate)  measures. 

CHOPIN,  Mazurka  No.  u;  No.  32,  first  44  measures;  No.  51,  first  40 
measures  (Part  II  an  exact  reproduction  of  Part  I,  but  in  a  different  key). 
CHOPIN,  Nocturne  No.  3  (op.  9,  No.  3),  "Agitato" — Part  III  derived  from 
second  half  of  First  Part,  but  including  the  beginning. 

MOZART,  Pfte.  Son.  No.  i  (Cotta  ed.),  Andante,  (Part  III  corresponds 
exactly  to  2nd  half  of  Part  I,  but  the  construction  of  the  latter  is  parallel. 

HAYDN,  Symphony  No.  5  (Peters  ed.),  Finale,  Principal  Theme  (model 
Second  Part,  sectional  form  ;  Part  III  like  2nd  half  of  Part  I,  but  including 
beginning). 

SCHUBERT,  Pfte.  Son.  No.  6  (op.  147),  "Trio"  of  3rd  Movement. 

BEETHOVEN,  Pfte.  Son.  op.  2,  No.  3,  Scherzo  (Part  III  about  one-half  the 
contents  of  First  Part,  and  followed  by  two  Codettas  of  8  and  9  measures). 

SCHUMANN,  op.  82  ("  Waldscenen  "),  No.  5. 

GRIEG,  Lyric  Pieces,  op.  43,  No.  2  (II  and  III  repeated). 

BRAHMS,  op.  116,  No.  3,  "  un  poco  ineno  Allegro.1' — Op.  118,  No.  2,  up  to 
first  double-bar  (Part  I  a  reg.  Period,  repeated ;  the  first  member  of  Part  III  is 
in  the  "  contrary  motion  "  of  Part  I ;  Part  III  a  Phrase,  followed  by  Codetta, 
rep.  and  extended).  Op.  118,  No.  4,  up  to  double-bar  (both  Part  I  and  Part  III 
close  with  a  semicadence). — Op.  119,  No.  2,  second  tempo  (4-sharp  signature). 

(b)  In  some  cases  the  Third  Part  is  only  a  slightly  contracted 
version  of  Part  I, — as,   for  instance,  in  Ex.  91  (only  one  measure 
omitted).      Such  examples,  where  Part  III  does  not  omit  any  essen- 
tial portion  of  Part  I,  should  be  classed  among  the  Complete  forms. 

This  may  seem  to  place  Ex.  94  in  a  somewhat  doubtful  position,  though 
its  Third  Part  is  an  indisputable  contraction  inform,  from  Period  to  Phrase. 

See  also  CHOPIN,  Nocturne  No.  19  (op.  72,  No.  i)  ;  Part  I,  21  measures, 
Part  III,  16  measures. 

MENDELSSOHN,  Praeludium  op.  35,  No.  i  (Interlude  betw.  Parts  I  and  II ; 
elaborate  Coda). 

(c)  On  the  other  hand,  as  already  intimated,  a  very  few  of  the 
first  beats  of  Part  I,  if  fairly  striking  in  character,  will  suffice  to 
establish  the  tripartite  design.      But,  unless  this  meagre  indication 


184 


TJIK    INCOMPLETE    3'PART    SONG-FORM. 


Par.  99c. 


of  a  "  Return  to  the  beginning  "  be  followed  by  enough  consistent 
material  to  fill  the  just  measure  of  a  full-fledged  "  Part  "  (in  the 
manner  to  be  seen  in  the  2nd  and  3rd  stages  of  the  fully  developed 
form,  par.  102$  and  <:),  it  will  not,  of  itself  alone,  entirely  over- 
come the  impression  of  a  T^zvo-Part  design.  For  illustration  : 


A  ndante. 


95. 


Par.  Me. 


THE    INCOMPLETE    3'PART    SONG-FORM.  185 

MENDELSSOHN,  op.  7,  No.  6. 


*i)  There  may  be  some  doubt  as  to  whether  this  last  4-measure  sentence 
suffices  to  represent  a  definite  Third  Part,  but  the  doubt  is  scarcely  reasonable. 
It  contains,  to  be  sure,  less  than  one-half  of  its  First  Part;  but,  firstly,  it  is 
a  complete  4-meas.  Phrase ;  and,  secondly,  the  peculiarly  effective  dynamic 
conditions  with  which  it  is  ushered  in  (cresc.  molfo  z=*-  //),  emphatically 
mark  one  of  the  vital  "angles"  of  the  structural  design.  Almost  precisely 
the  same  conditions  prevail  in  the  same  opus  (7),  No.  i. 

In  MENDELSSOHN,  op.  14,  Andante  (Introduction  to  Rondo),  the  recur- 
rence of  the  first  member,  5  measures  from  the  end,  is  barely  more  than  an 
intimation,  and  therefore  the  form  is  probably  only  2-Part. 

In  CHOPIN,  Prelude,  op.  28,  No.  21,  the  intimation  of  the  Recurrence 
is  also  vague,  but  the  form  is  surely  3-Part,  on  account  of  the  individuality  of 
the  Second  Part.  In  the  following  Prelude  (No.  22),  a  Third  Part  can  hardly 
be  proven. 

In  BEETHOVEN,  Symphony  No.  8,  "Trio"  of  3rd  Movement,  there  is 
a  fairly  convincing  intimation  of  a  Third  Part,  in  meas.  9  of  Part  II. 

In  HAYDN,  F-minor  Pfte.  Variations,  the  intimation  of  a  Third  Part 
is  very  vague  in  the  Principal  Theme,  but  quite  distinct  in  the  F-major 
Division  which  follows.  Consequently,  the  former  is  probably  2-Part,  the 
latter  Incipient  3-Part  form. 

In  BACH,  Well-tempered  Clavichord,  Vol.  II,  Prelude  12,  a  Third  Part  is 
"intimated";  the  same  in  BACH,  English  Suite  No.  i,  Sarabandc. 

In  SCHUMANN,  Jug-end-Album,  op.  68,  No.  7  (F  major),  the  intimation 
is  so  vague  that  the  form  is  obviously  only  2-Part ;  the  same  is  tru,e  of 
MENDELSSOHN,  Scherzo  a  capriccio  (F$),  Principal  Theme;  BEETHOVEN, 
7  Variations  in  F  (P.  v.  WINTER),  Theme;  HAYDN,  Symphony  No.  6  (Peters 
ed.)  Andante  (32  measures;  2-Part  form,  each  Part  repeated). 


EXERCISE  27.      . 

Two  examples,  one  in  major  and  one  in  minor,  of  the  Incomplete  3-Part 
Song-form. — Choose  a  different  kind  of  Time,  grade  of  Tempo,  dynamic 
design  and  rhythmic  style  for  each.  Review  the  directions  given  in  Exercise 
9,  last  clause. — Add  a  Codetta  or  Coda,  and  an  Introduction,  if  appropriate. 


1 86 


THE    AUGMENTED    TWO-PART    SONG-FORM. 


Par.  100. 


THE  AUGMENTED  TWO-PART  SONG-FORM. 

1  OO.  The  occasional  inclination  of  a  Second  Part  to  revert, 
in  its  later  course,  more  or  less  emphatically  to  the  jirst  member  of 
Part  I,  as  seen  in  the  preceding  paragraph,  is  scarcely  less  likely 
to  involve  some  other,  later •,  fragment  of  the  First  Part. 

If  the  fragment  thus  borrowed  from  Part  I  is  any  otlicr  than 
the  first  member,  every  suspicion  of  the  genuine  tripartite  form 
vanishes,  because  it  is  no  longer  a  return  to  the  beginning  :  the 
form  is  unquestionably  Two-Part. 

If,  again,  the  borrowed  fragment  is  merely  a  corroboration 
of  the  ending  of  Part  I,  as  ending  of  Part  II,  without  causing 
any  palpable  check  in  the  current  of  the  latter,  there  is  quite  as 
evidently  no  essential  change  or  enlargement  of  the  Two-Part 
design  (see  Ex.  73)- 

If,  however,  finally,  the  Second  Part  has  been  sufficiently 
individualized,  and,  in  consequence,  a  disposition  to  "  return  " 
asserts  itself,  but,  in  thus  evidently  returning,  choice  chances  to 
fall  upon  some  later  (though  equally  characteristic)  member  of  the 
First  Part,  it  is  certain  that  the  form  has  become  richer  than 
the  ordinary  Two-Part  design,  though  without  reaching  the  lowest 
limits  of  the  Three-Part  form.  (Review  par.  65,  and  par.  77, 
first  clause.)  For  this  intermediate  design  the  term  "  AUGMENTED 
2-PART  FORM  "  seems  most  appropriate. 

The  form  is  strictly  only  bipartite,  because  the  vital  distinction  of  the 
tripartite  form  is  wanting,  excepting  as  its  presence  is  to  a  certain  degree 
"understood"  through  the  act  of  substitution  which  takes  place,  whereby 
an  inferior  agent  is  accepted  as  the  representative  of  the  expected  one.  If 
"distinct  evidence  of  a  return  to  the  beginning'11  is  to  be  upheld  as  an 
inviolable  condition  of  the  genuine  Three-Part  Song-form,  then  the  follow- 
ing Example  (96)  is  only  a  bipartite  design ;  and  such  other,  still  larger 
specimens  as  may  be  found,  consisting  unmistakably  of  three  distinct  Parts, 
but  lacking  this  evidence  of  a  return  to  the  beginning,  must  be  classified 
among  the  "Group-forms"  (par.  114).  For  illustration: 

Part  II. 


96. 


m   u  _       ran  11. 

I    I  ^^ 


Par.  100. 


THE    AUGMENTED    TWO-PART    SONG-FORM. 


*i)  Old-German  love-song  (harmonized  by  L.  STARK). 

*2)  Part  II  is  a  full  Period,  up  to  this  point,  equivalent  in  length  and 
form  to  the  First  Part.  The  Phrase  which  follows  is  not  derived  from  the 
beginning  but  from  the  ending  of  Part  I,  and  therefore  it  is  not  a  genuine 
Third  Part.  Under  other  circumstances,  such  an  example  as  this,  especially 
if  broader  in  dimensions,  might  be  called  a  Group  of  (3)  Parts;  but,  consider- 
ing the  close  affinity  between  this  final  Phrase  and  all  the  rest  of  the  Song,  it 
appears  most  accurate  to  speak  of  it  as  an  AUGMENTATION  of  what  is  actually 
no  more,  in  substance,  than  a  TWO-PART  FORM.  The  confusing  resemblance 
between  this  example  and  Ex.  73  cannot  be  denied  ;  but  there,  the  Second  Part 
reverts  to  the  ending  of  Part  I  without  checking  its  course,  or  augmenting 
its  formal  design ;  while  here,  the  Second  Part  might  seem  complete  without 
the  addition ;  therefore  the  latter  is  really  an  augmentation  of  the  design. 

An  excellent  illustration  is  to  be  found  in  MENDELSSOHN,  "  Song  without 
Words"  No.  18;  in  measures  30-32  the  Second  Part  evinces  all  the  symptoms 
of  coming  to  an  end,  and  in  meas.  32  a  motive  sets  in  (with  strong  dynamic 
emphasis  and  every  other  indication  of  a  "  new  Part •")  which  probably  any 
one,  at  a  first  hearing,  would  accept  as  a  genuine  Third  Part ; — on  examination 
it  proves  to  be  the  second  member  of  Part  I,  and  not  the  initial  one  at  all. 
The  formal  proportions  are  almost  exactly  the  same  as  in  Ex.  o/>.  so  the  same 
reasons  prevail  for  calling  it  an  Augmented  Two-Part  form. 

See  also  BRAHMS,  Rhapsody,  op.  79,  No.  i,  "  Trio  "  (signature  of  5  sharps). 
In  meas.  8-9  of  the  Second  Part  there  are  strong  indications  of  a  regular 
Dominant-ending;  but  the  Phrase  which  follows  is  not  sufficiently  convincing 
of  a  return  to  the  beginning. 

BRAHMS,  op.  116,  No.  6  (Intermezzo)  first  24  measures;  Part  II  contains 
a  reproduction  of  all  the  First  Part,  excepting  its  first  Member  (2  measures); 
one  is  tempted,  therefore,  to  call  this  "  3-Part  Song-form."  BRAHMS,  Pfte. 
Ballad,  op.  10,  No.  2,  first  23  measures  (excellent  illustration). 

See  also  CHOPIN,  Nocturne  No.  3  (op.  9,  No.  3),  Principal  Song  (Part  I 
20  measures  and  repeated ;  Part  II  16  measures,  followed  by  an  Augmentation,, 
consisting  in  the  last  Phrases — 8  measures — of  Part  I). 

In  CHOPIN,  Mazurka  No.  28,  the  design  must  be  called  Incomplete  3-Part 
Song-form,  because  the  first  member  of  Part  I — omitted  in  Part  III — is  much 
like  an  unessential  Introduction;  and  because  every  other  essential  condition 
points  to  three  distinct  Parts,  the  third  of  which  is  an  almost  exact  recur- 
rence of  Part  I,  contracted,  and  without  the  "  Introduction." 


l88  THE   FULLY  DEVELOPED  THREE-PART  SONG-FORM.      Par.  102b. 

EXERCISE  28. 

An  example  of  the  Augmented  Two-Part  form,  all  details  optional. 


CHAPTER   XV. 

THE   FULLY   DEVELOPED   THREE-PART   SONG-FORM. 

1  O  1  .  The  complete  development  of  the  resources  of  the  3-Part 
Song-form  depends,  finally,  upon  the  treatment  of  the  THIRD 
PART,  which,  after  having  fulfilled  the  necessary  condition1  of  the 
tripartite  design  by  reproducing  the  first  member  of  Part  /,  may 
thereafter  be  elaborated  into  a  more  or  less  individual  Part,  inde- 
pendent enough  (in  its  later  conduct)  of  its  original  First  Part,  to 
constitute  a  coordinately  interesting  and  essential  section  of  the 
form.  In  this  line  of  progressive  development,  four  stages  may  be 
distinguished. 

1  O2a.  STAGE  i  is  represented  by  Ex.  91  and  its  context 
(par.  91)  ;  here  Part  III  is  either  a  literal  recurrence  of  the  First 
Part,  or  contains  no  other  than  such  unessential  modifications,  and 
brief  extensions,  as  add  to  its  attractiveness  without  affecting  the 
form,  or  any  other  essential  feature  of  the  Part.  (MENDELSSOHN, 
"Songs  without  Words,"  Nos.  45,  22,  32,  35.) 

(b)  In  STAGE  2,  the  Third  Part  is  an  extended  version  of  its 
First  Part,  or,  more  commonly,  of  a  portion  of  the  same.  As 
a  rule,  it  reproduces  only  a  certain  fraction  or  section  of  Part  I 
literally ;  generally  no  more  than  the  first  Phrase,  or  such  a  portion 
of  the  "beginning"  as  suffices  to  establish  the  tripartite  design; 
and  then,  after  doing  this,  fills  out  the  remainder  of  its  allotted 
length  (usually  at  least  equal  to,  if  not  beyond,  the  length  of 
Part  I)  by  an  extension  or  expansion  of  this  member,  along  lines 
approximately  parallel  with  its  First  Part.  For  illustration  : 


Andante. 


97. 


Par.  lOab.      THE   FULLY   DEVELOPED  T1IKEE-PART  SONG-FORM.  189 


Part  II 


Part  III. 


r=*S^HSF=»TT 

itBKtC         -=E?pE      — ! 


8  measures; 
see  Original.*!) 


t£# 


.2: 


*i)  HAYDN,  Symphony  No.  i  (Peters  ed.),  Andante.  The  principal 
melody  of  Part  I  is  transferred,  in  Part  III,  to  the  lower  part,  and  is  retained 
almost  literally  for  4  measures. 

*2)  From  here  on,  Part  III  abandons  the  line  of  the  First  Part,  and  carries 
out  an  interesting  extension  of  the  melodic  figure  of  its  4th  measure,  followed 
by  a  somewhat  independent  Cadence-member.  The  Third  Part  exceeds  Part  I 
in  length  by  2  measures. 

See  also  :  HAYDN,  Pfte.  Son.  No.  9  (Cotta  ed.)  Presto,  Prin.  Theme. 


190 


THE  FULLY  DEVELOPED  THREE-PART  SONG-FORM.       Par.  102c. 


BEETHOVEN,  Pfte.  Son.  op.  7,  3rd  Movement,  up  to  the  ''  Minore  "  (Part  III 
very  elaborate, — perhaps  passing  beyond  this  2nd  Stage;  a  Codetta  is  added); 
the  same  Sonata,  Largo,  Prin.  Theme  (similar). 

MOZART,  Pfte.  Son.  No.  9  (Cotta  ed.)  "Trio"  of  Menuctto  (peculiar 
example;  Part  III  contains  no  more  than  the  first  i)^  measures  of  Part  I, 
exact;  the  rest  of  the  way — 15  measures — not  a  single  member  agrees  literally 
with  the  original  Part,  but  the  general  parallelism  is  so  perfect  that  the  actual 
difference  would  not  be  suspected). 

CHOPIN,  Mazurka  18;  Nocturne  18  (op.  62,  No.  2),  32  measures  (also 
Incomplete  Form,  i.  e.,  Part  III  decidedly  shorter  than  I);  Nocturne  13  (op. 
48,  No.  i)  Prin.  Theme  (somewhat  beyond  the  2nd  Stage). 

MENDELSSOHN,  "Songs  without  Words,"  No.  42;  46;  31;  (compare,  in 
every  instance,  Part  III  very  minutely  with  Part  I). 

GRIEG,  Lyric  Pieces,  op.  43,  No.  5. 

BRAHMS,  op.  117,  No.  2;  op.  118,  No.  i. 

(c)  STAGE  3  is  characterized  by  the  presence  of  more  or  less 
radically  new  melodic  material  in  Part  III.  It  emerges  naturally 
out  of  the  2nd  Stage,  and  is  sometimes  scarcely  distinguishable 
from  the  latter,  because  it  is  not  always  possible  to  determine  just 
when  the  "extension"  of  the  initial  portion  of  Part  I  digresses 
far  enough  from  its  original  object  to  become  "new"  in  effect. 
But  usually  the  evidence  of  really  new  (though,  of  course,  strictly 
kindred)  members  in  the  Third  Part  is  unmistakable,  as  in  the 
following  : 

Allegretto. 


Cnpt-U—  ^Ti___i_i_L>_i_«-i. 

8.  ^fez^=r^-c^AT>-irf-f  jfT1r~ 

=—     .      .  Part  ^ 


V   *1)       (Extension  of  prin.  member.)- • 


11   (Reproduction  of  new  member).   *2) 

'       &*- 


MRNDKI.SSOHV,  op.  72,  No.  3. 


etc.  Codetta. 


Par.  102d.      THE  FULLY  DEVELOPED  THREE-PART  SONG-FORM.  191 

*i)  Up  to  this  point.  Part  III  is  a  literal  reproduction  of  the  first  Phrase 
of  the  First  Part;  then  the  line  of  Part  I  is  abandoned,  and  in  its  place  stands, 
first,  a  4-meas.  extension  of  the  first  figure,  and  then  an  entirely  new,  but 
sufficiently  homogeneous,  member,  which  is  confirmed  by  reproduction. 

*2)  In  connection  with  this  reproduction  of  the  new  member,  see  par.  103. 

This  3rd  Stage  represents  the  most  perfect,  richly  developed, 
and  beautiful  variety  of  the  genuine  3-Part  Song-form  ;  and  it  is, 
therefore,  quite  commonly  adopted,  especially  by  modern  writers. 
Examples  of  it  are  very  numerous,  but  its  resources  are  not,  and 
cannot  be,  exhausted.  (Stage  4,  as  will  be  seen,  contains  one 
further  trait  of  structural  coherency,  but  is,  on  the  whole,  a  trifle 
less  genuine  than  the  3rd  Stage.) 

See  also:  MENDELSSOHN,  "  Songs  without  Words,"  Nos.  37,  40  (between 
the  2nd  and  3rd  Stages) ;  Nos.  25,  26,  36,  47  (all  3rd  Stage).  In  No.  2,  the  Third 
Part  has  a  somewhat  suspicious  break  in  its  i6th  measure,  upon  an  imperfect 
Tonic  cadence,  but  the  following  16  measures  are  so  intimately  related  to  the 
preceding  members,  that  they  can  hardly  be  called  a  Coda  (comp.  par.  93*). 

SCHUBERT,  Pfte.  Son.  No.  6  (op.  147),  Andante,  Prin.  Theme. 

CHOPIN,  Mazurka  32  (op.  50,  No.  3)  last  100  measures  (comp.  with  Principal 
Song,  at  the  beginning), — Part  I  16  measures,  Part  II  16  measures,  Part  III 
33  measures,  17  of  which  are  "  new." 

BEETHOVEN,  Pfte.  Son.  op.  10,  No.  2,  Allegretto,  first  Song  (codetta  added); 
Pfte.  Son.  op.  10,  No.  3,  Menuetto,  first  Song;  op.  14,  No.  i,  Allegretto,  first 
Song;  Symphony  No.  I,  "  Trio  "  of  3rd  Movement ;  Symphony  No.  3,  "Trio  " 
of  3rd  Movement. 

BRAHMS,  op.  118,  No.  3,  Subordinate  Theme  (5-sharp  signature).  This 
example  might  be  called  a  Quadruple  Period,  but  the  4th  Phrase  is  so  distinct 
in  style  as  to  tempt  the  assumption  of  a  "  Second  Part,"  brief  and  Interlude- 
like  though  it  is.  Op.  119,  No.  3  (Part  I  24  meas.,  Part  II  16  n.eas.,  Part  III 
modified  at  beginning,  and  extended).  Capriccio,  op.  76,  No.  8. 

SCHUBERT,  Momens  musicals,  op.  94,  No.  6,  first  Song. 

SCHUMANN,  op.  82  ("  Waldscenen  ")  No.  i;  Part  III  very  elaborate  and 
followed  by  a  Codetta,  after  an  imperfect  Cad.  on  a  f  chord. 

(d)  In  STAGE  4,  the  Third  Part  contains,  besides  its  own 
rightful  material,  some  characteristic  member  of  the  Second  Part. 

The  portion  thus  borrowed  from  the  (foregoing)  Second  Part 
may  be  of  any  extent,  from  a  single  melodic  member  up  to  a 
Phrase,  or  an  entire  Period ;  but  it  must  be  something  peculiar 
to  Part  II,  and  not  a  passage  which  found  its  way  into  that  Part 
from  Part  I, — as  is  more  likely  to  be  the  case ;  hence,  this  device 
is  more  liable  to  be  adopted  when  Part  II  is  partly  "new"  in 
construction  (par.  87*?).  In  no  case  will  Part  III  include  the  whole 
of  Part  II,  but  only  some  characteristic  portion. 


192 


THE  FULLY  DEVELOPED  THREE-PART  SONG-FORM.      Par.  102d. 


The  borrowed  member  will  almost  invariably  be  subjected  to 
a  transposition  ;  for,  while  likely  to  appear  at  first  in  some  key 
conforming  to  the  modulatory  design  of  the  Second  Part,  it  will,  in 
Part  III,  be  transferred  to  the  principal  key. 

Finally,  the  member  borrowed  from  Part  II,  must,  in  order 
to  affect  the  design,  recur  during  the  course  of  the  Third  Part,  i.  e., 
before  its  final  cadence.  Otherwise  it  will  only  become  a  part 
of  the  Codetta  or  Coda  (as  seen  in  par.  98^,  last  two  clauses,  which 
review).  For  illustration  : 


A  ndantc. 


99. 


-d? 


Conseq.    Phr. 


"V  3. 


Part  II. 


tranquillo. 


I —  .__j — » fJ-x. U -^^1  — HZ— 


Conseq.    Phr. 


^=Fo*±4^**=*^ 
f==^-=^^OD>  t£f^» 

cresc.  f  '          >^^      I 

J  c 


«/ 


dim.  I       P 


dim.    poco  raM 


Part  III.     (from  Part  I). 


Par.  103.  CORROBOKATION.  193 

(from  Part JT)  MENDELSSOHN.    S.  w.  W.,  No.  7. 


etc. 
r     rep.  &  Coda. 

*i)  Up  to  this  point,  Part  III  pursues  the  line  of  the  first  Phrase  of  Part  I 
closely;  what  follows  is  neither  a  continuation  of  Part  I  with  unessential 
changes  (as  in  Stage  i),  nor  a  mere  extension  of  the  foregoing  member  (as  in 
Stage  2),  nor  is  it  new  (as  in  Stage  3),  but  is  borrowed  from  the  foregoing 
Second  Part,  to  the  Consequent  Phrase  of  which  it  almost  exactly  corresponds, 
save  in  key.  This  is  an  unusually  striking  example;  so  characteristic,  in 
fact,  that  the  Third  Part  might  be  called  a  contracted  recurrence,  or  "  Re- 
capitulation," of  both  Parts  I  and  II.  Compare  it  carefully  with  the  text 
(par.  io2(f),  all  the  conditions  of  which  it  fulfils. 

See  also  :  MENDELSSOHN,  "  Songs  without  Words,"  No.  41  (similar  to  the 
above;  Part  III  further  enriched  by  an  additional  "  new  "  member);  No.  38 
(meas.  10-19  of  Part  III  are  derived  from  meas.  6-8  of  Part  II)  ;  No.  30  (meas. 
15-22  of  Part  III  borrowed  from  Part  II);  No.  13  (meas.  13-15  of  Part  III 
taken  from  II) ;  No.  i  (meas.  5-6  of  III  borrowed  from  II).  In  Nos.  10,  33,  28 
the  coincidence  between  portions  of  Parts  III  and  II  is  more  general  than 
detailed. — MENDELSSOHN,  Praeludium  op.  35,  No.  5.  In  Prasludium  op.  35, 
No.  4,  there  is  a  suspicion  of  the  borrowed  portion  constituting  the  beginning 
of  the  Coda.  See  also  op.  7,  No.  2  (very  broad;  large  Second  Part) ;  Andante 
cantabile  in  B  major. 

CHOPIN,  Etude  No.  2  ("  Moscheles-Fetis  "  Method). 

BRAHMS,  op.  116,  No.  4. — SCHUMANN,  Jugend- Album,  op.  68,  No.  2. — 
BEETHOVEN,  Symphony  No.  2,  Scherzo,  Principal  Song. 

CORROBORATION. 

1  O3.  According  to  the  law  of  Corroboration, — which  be- 
comes more  imperative  in  proportion  to  the  increasing  dimension 
of  the  musical  design, — every  member  \vhich  assumes  a  sufficiently 
striking  or  impressive  individuality  to  attract  more  than  passing 
attention,  should  recur  more  or  less  exactly,  sooner  or  later,  (it 
does  not  much  matter  when  or  where,)  for  the  sake  of  thematic 
confirmation  and  structural  balance.  Or,  negatively  expressed,  it 
is  necessary  to  avoid  the  isolation  of  any  conspicuous  passage  or 
member;  the  law  of  Unity  demands  its  corroboration  somewhere 
or  other  \vithin  reasonable  limits. 

This  rule  is  involved  by  the  law  of  Contrast  (par.  96,  which  review),  the 
action  of  which  must  be  counterbalanced  by  that  of  Corroboration.  The 
greater  the  Contrast, — be  it  in  quantity  or  quality, — the  greater  the  need  of 
Corroboration ;  hence,  these  two  equally  important  conditions  of  rational 
Form  are  mutually  dependent. 


194  CORROBORATION.  Par.  108. 

This  very  strongly  emphasizes  the  principle  of  Repetition,  and 
of  Reproduction,  as  fundamental  structural  law;  see  par.  17,  23, 
Ex.  46,  par.  41,  42,  43,  54,  etc. 

It  demonstrates  the  logical  justice  of  the  tripartite  designs ; 
see  par.  8itz,  91. 

It  accounts  for  the  occasional  similarity  between  the  ending 
of  Parts  I  and  II  (par.  75). 

It  is  often  the  direct  cause  of  the  Third  Part  reverting  to  some 
characteristic  motive  of  Part  II  (par.  io2d]  ;  or  of  the  derivation 
of  the  Coda  from  Part  II,  when  the  latter  is  somewhat  independent 
of  its  First  Part. 

And,  finally,  it  resolves  itself  into  a  more  general  (though  not 
rigid)  rule  for  the  treatment  of  any  single  member  which,  being 
new,  or  striking,  (in  obedience  to  the  demands  of  Contrast,)  rises 
above  the  level  of  its  surroundings  and  becomes  a  salient  feature 
of  its  Division ;  such  a  member  should,  in  well-balanced  Form, 
reappear  somewhere,  further  on, — perhaps  in  the  Coda. 

For  illustrations  of  this  law,  see  Ex.  98,  Note  *2). 

MENDELSSOHN,  "  Songs  without  Words,"  No.  4  (the  independent  Prelude, 
recurring  as  Postlude,  at  the  end)  ;  No.  38  (the  independent  rhythmic  figure 
in  measures  6  and  7  of  Part  II,  reappearing  in  Part  III). 

BEETHOVEN,  Rondo  in  C,  op.  51,  No.  i  (Cotta  ed.,  wherein  all  the  Themes 
are  marked) ;  the  triplet  treatment  of  the  principal  motive,  in  measures  8-9 
of  the  Retransition  after  the  2nd  Subord.  Theme,  recurs  in  the  following  Prin. 
Th.,  measures  4-5 ;  the  ascending  chromatic  run  in  fc-sextolets  at  the  end  of 
the  same  Retransition,  reappears  near  the  end  of  the  Coda ;  the  ascending 
arpeggios  in  measures  1-2,  5-6,  of  the  2nd  Subord.  Theme,  are  corroborated 
in  measures  6-n  of  the  Coda. 

MOZART,  Rondo  in  A  minor  (Cotta  ed.  No.  20) ;  meas.  5  of  the  ist  Sub. 
Th.  is  developed  at  the  beginning  of  the  ist  Retransition ;  meas.  16-18  of  the 
ist  Sub.  Th.  reappear  later  on  in  the  same  Retransition ;  the  ^-figure  in  meas. 
5-6  of  the  2nd  Sub.  Th.  reappears  near  the  end  of  the  Coda ;  meas.  5-10  of  the 
2nd  Retransition  are  reflected  at  the  end  of  the  Coda. 

Many  other  proofs  might  be  adduced,  of  an  equally  convincing  character, 
in  confirmation  of  the  classic  rule:  "  Shun  the  isolation  of  any  significant  or 
striking  member.'1'' 


EXERCISE  29. 

An  example  (major)  of  the  2nd  Stage  of  the  Fully  Developed  3-Part 
Song-form  (par.  102^.).  Review  par.  93  to  97.  Add  Coda  or  Codetta,  and 
Introduction,  if  appropriate.  Par.  130  may  be  referred  to,  and  utilized  if 
desirable. 


Par.  104.  THE    LARGE    PHRASE-GROUP. 


'95 


EXERCISE  30. 

Two  examples  (minor  and  major)  of  the  3rd  Stage  (par.  iO2c).     Review 
par.  103.     See  par.  137. — Par.  133  may  be. referred  to,  and  utilized  if  desirable. 


EXERCISE  31. 

An  example  (all  conditions  optional)  of  the  4th  Stage  (par.  102^)- — Par. 
135  may  be  referred  to,  and  utilized  if  desirable. 


THE  LARGE  PHRASE-GROUP. 

1  O4.  Notwithstanding  the  distrust  which  the  Group-forms 
arouse,  and  the  caution  enjoined  upon  the  beginner  in  their  con- 
ception and  employment  (par.  58,  final  clause),  their  peculiar 
importance  among  the  architectural  purposes  of  inusical  Form  is 
undeniable,  and  their  value  (if  for  no  other  aim  than  that  of 
variety,  and  a  relaxation  of  the  rigid  lines  of  the  primary  designs) 
is  positive  enough,  when  used  in  the  proper  place,  and  in  judicious 
proportion. 

How  easily  possible  it  is  to  obtain  a  long  line  of  Phrases, — for 
which  the  term  "  Chain  "  might  be  more  fitting  than  "  Group," 
— by  adding  Phrase  after  Phrase,  without  pausing  to  sever  the 
connection,  and  without  diverging  from  the  original  character  to 
such  an  extent  as  to  indicate  a  new  ''  Part,"  may  be  tested  in  such 
examples  as  the  Pfte.  Etudes  of  CRAMER,  and  other  similar  com- 
positions. 

But,  the  longer  the  "Chain"  becomes,  the  stronger  will  the 
inclination  assert  itself  to  mold  it  into  a  general  agreement  with 
one  of  the  regular  designs,  and  thus  to  give  to  the  otherwise 
almost  inevitably  incoherent  series  a  more  recognizable  shape,  at 
least  approaching  the  design  of  the  Song-forms,  or  a  broadly 
magnified  Double  or  Quadruple  period. 

See  CRAMER,  Etude  Nos.  i,  2,  6,  13  (original  complete  edition,  Peters); 
— these  are  simply  Phrase-Chains,  with  little  or  no  indication  of  any  higher 
structural  purpose  or  disposition;  Nos.  8,  10,  14,  78  (quasi  2-Part  Song-form); 
No.  5  (quasi  Double  period) ;  Nos.  4,  7  (quasi  3-Part  Song- form). 

HAYDN,  Pfte.  Son.  No.  6  (Cotta  ed.)  Finale  (an  introductory  Period, 
answering  roughly  for  a  First  Part;  then  15  Phrases  in  Chain-form,  followed 
by  two  Codettas). 

CHOPIN,  Etude  No.  i  ("Moscheles-Fetis"  method),  quasi  2-Part  Song- form. 


196  SIMPLE    REPETITION    OK    THE    PARTS.  Par.  105a. 

BACH,  Well-tempered  Clavichord,  Vol.  I,  Preludes  i,  2,  5,  6,  13,  15,  (simple 
Chain  of  Phrases);  Vol.  I,  Prelude  10  (probably  2-Part  Song,  with  long  and 
distinct  Coda);  Vol.  I,  Prelude  20  (quasi  3-Part) ;  21  (quasi  2-Part) ;  Vol.  II, 
Prelude  6  (quasi  2-Part).  * 

GRIEG,  Lyric  Pieces  op.  38,  No.  5  (quasi  Double  period;  Coda). 

BRAHMS,  op.  116,  No.  2  (Intermezzo)  non  troppo  presto  (6  Phrases,  quasi 
Double  period,  extended).  BRAHMS,  op.  116,  No.  4,  Part  I  (7  Phrases,  quasi 
Double  period). — Op.  119,  No.  2,  first  tempo  (quasi  3-Part  Song-form;  a  brief 
thematic  Phrase  reappears  several  times,  in  various  keys  and  styles). 


CHAPTER  XVI. 

THE    EVOLUTION   OF  THE    FIVE-PART   SONG-FORM, 
i.    SIMPLE  REPETITION  OF  THE  PARTS. 

1O5.  The  growth  of  the  ordinary  tripartite  Song-form  into 
a  correspondingly  legitimate  form  of  FIVE  PARTS  is  initiated  by 
the  simple  condition  of  REPETITION,  applied  to  the  Divisions. 
of  the  3-Part  form. 

(a.)  The  general  rule  for  these  repetitions  is  as  follows  : 

Part  I  may  be  repeated  alone  ; 

Part  II  should  not  be  repeated  alone,  but  only  in  company 
with  Part  III. 

In  other  words  :  the  ist  Division  (consisting  of  Part  I)  may  be 
repeated,  and  the  2nd  Division  (consisting  of  Parts  II  and  III 
together]  likewise  ;  thus  : 


(See  par. 


Either  one  alone,  or  both,  of  these  Division-repetitions  may 
occur ;  and  the  repetition  may  be  exact  (in  which  case  repetition- 
marks  !||  will  be  used,  possibly  with  ist  and  2nd  ending),  or  it 
may  be  unessentially  modified. 

The  questions :  Whether  to  repeat  or  not  ?  Whether  to  repeat  exactly 
or  not  ?  and,  if  the  latter,  How  little  or  how  much  unessential  variation  to 
introduce  ?  are  touched  upon  in  par.  23,  "which  review.  See  also  par.  103. 
From  these,  the  general  principle  will  be  inferred  that  the  advisability  of 
repetition  depends:  (i)  upon  the  simple  requirement  of  dimension  or  propor- 
tion, and  (2)  upon  the  necessity  of  emphasizing  or  confirming  a  somewhat 
complex,  or  a  sufficiently  attractive,  sentence.  Furthermore,  a  simple  sentence 
will  call  for  more  elaborate  alteration  than  a  complex  one. 


Par.  106.       ELABORATE   REPRODUCTIONS  OF  SECOND  DIVISION.  197 

(b)  The  rule  against  the  repetition  of  the  Second  Part  alone, 
while  quite  strict,  is  not  infrequently  disregarded  when  the  Part 
is  small  (as  in  Ex.  78  and  Ex.  91)  ;  or  \vhen  the  repetition  is 
followed  by  additional  retransitional  material  (as  in  Ex.  84)  ;  or 
when  the  repetition,  for  any  other  evident  reason,  does  not  tend 
to  sever  the  connection  with  Part  III.  Other,  distinctly  irregular, 
cases  of  the  repetition  of  Part  II  alone,  are  shown  in  par. 


(1)  For  illustrations  of  exact  rep.   of  Part  /,   see  Exs.   81,  84,  85,  89; 
MENDELSSOHN,  "  Songs  without  Words,"  Nos.  i,  3,  etc.  ;  GRIEG,  Lyric  Pieces, 
op.  43,  No.  5. 

(2)  An  exact  repetition  of  Parts  II  and  ///takes  place  in  MENDELSSOHN*, 
"  Songs  without  Words,"  Nos.  12,  and  45  ;  GRIEG,  Lyric  Pieces,  op.  12,  No.  5, 
No.  7;  op.  38,  No.  3,  No.  6;  op.  43,  No.  3  (final  extension  added). 

(3)  Both  Divisions  are  literally  repeated  in  BEETHOVEN,  Pfte.  Son.  op.  2, 
No.   i,  both    Mcnnetto   and   its   "Trio";    MENDELSSOHN,  "Songs   without 
Words,"  No.  7;  GRIEG,  Lyric  Pieces,  op.  12,  No.  4;  op.  38,  No.  4. 

(4)  For  illustrations  of  the  repetition  of  Part  I  -with  unessential  modifica- 
tions, see  MEXDELSSOHN,  "  Songs  without  Words,"  Nos.  4,  9,  16,  21,  27,  31, 
46;   BEETHOVEN,  Pfte.  Son.   op.   26,   Scherzo;  SCHUBERT,  Momens  musicals 
op.  94,  No.  6,  "  Trio"  ;  CHOPIN,  Mazurka  No.  37;  HAYDN,  Pfte.  Son.  No.  15 
(Cotta  ed.),   Adagio;  BRAHMS,  op.  118,  No.   2,  first  48  measures;  op.  118, 
No.  6. 

(5)  Modified  repetition  of  the  second  Division  (Parts  II  and  III)  will  be 
found  in  MENDELSSOHN,  "Songs  without  Words"  Nos.  19,  23,  48,  8;  BEET- 
HOVEN,  Pfte.   Son.    op.    53,   Finale   (Rondo)  first  62    measures;    SCHUBERT, 
Momens  musicals  op.  94,  No.  2;  CHOPIN^,  Nocturne  No.  n   (op.  37,  No.  i) 
Principal  Song;  Nocturne  13,  second  tempo  (C  major);  Polonaise  No.  5  (op. 
44)  first  78  measures  (introd.  8  meas.)  ;  SCHUMANN,  op.  99,  No.  5  (b  minor). 

(6)  Finally,  both  Divisions  are  repeated  -with  modifications,  in  MENDELS- 
SOHN, "  Song  without  Words"  No.  29;  HAYDN,  Pfte.  Son.  No.  14  (Cotta  ed.) 
Adagio,  first  56  measures;  CHOPIN,  Nocturne  2  (op.  9,  No.  2);  Nocturne  3, 
first  tempo;  Nocturne  15  (op.  55,  No.  i),  first  48  measures;   MOZART,  Pfte. 
Son.  No.  ii  (Cotta  ed.)  Andante. 


EXERCISE  32. 

An  example  of  the  3-Part  Song-form,  each  Division  (Part  I  alone, — Parts 
II  and  III  together)  repeated,  with  unessential  variations.  See  par.  130,  which 
may  be  applied  here,  if  deemed  desirable.  See  par.  137. 


2.    MORE    ELABORATE    REPRODUCTIONS    OF   THE    SECOND    DIVISION. 

1  O6.  The  entire  line  of  development,  beginning  with  the 
simple  tripartite  form  and  leading  up  to  the  genuine  5-Part 
Song-form,  does  not,  in  any  sense,  concern  the  manipulation  of 


198 


ELABORATE  REPRODUCTIONS  OF  SECOND  DIVISION.      Par.  lOCb. 


the  First  Part ;  but  refers  exclusively  to  the  reproduction  of  Parts 
JI  and  III.  It  runs  through  five  successive  and  clearly  distin- 
guishable Stages,  definable  as  follows,  according  to  the  method  of 
treatment  adopted  IN  REPRODUCING  THE  SECOND  PART  : 

(a.)  The  IST  STAGE  in  the  evolution  of  the  5-Part  form  is 
represented  by  the  exact,  or  unessentially  modified,  repetition 
of  the  second  Division  (irrespective  of  the  treatment  of  Part  I),  as 
indicated  in  par.  105,  and  illustrated  in  the  fifth  set  of  references 
given  above.  As  nothing  beyond  the  idea  of  simple  Repetition  is 
herein  embodied,  and  as  "repetition  effectuates  no  actual  advance 
in  structural  design,"  whether  modified  (unessentially}  or  not, — 
see  par.  21,  last  clause, — the  term  "  3-Part  "  form  must  be  adhered 
to  in  this  ist  Stage. 

(b)  In  STAGE  2,  a  more  significant  alteration  of  the  original 
Second  Part  is  made  (upon  the  reproduction  of  the  latter  as  Part 
"Four"),  consisting  in  its  recurrence  in  a  different  key.  Here, 
already,  the  term  "  Five-Part  "  Song-form  may  be  adopted. 

This  transposition  of  the  Second  Part  may  be  partial,  or 
complete.  In  the  latter  case,  the  Part  is  transferred  bodily,  with 
little  or  no  further  change,  a  certain  interval  upward  or  downward  ; 
usually,  though  not  necessarily,  into  some  closely  related  key. 

There  will  be  no  difficulty  in  making  the  modulation  into  the  new  plane, 
because  of  the  (presumably)  complete  cadence  at  the  end  of  the  Third  Part, — - 
which  the  transposed  version  of  Part  II  is  to  follow.  And  the  return  to  the 
original  key  can  easily  be  accomplished  during  the  usual, — possibly  special, — 
Retransition.  Par.  gor.  For  illustration : 


Presto. 


Part  I.    (Period,  8  measures.) 


1OO. 


•v~etc. :  see~ ' 
Original.  *1) 


Part  TL 



^»  •  •    ^^ 

,  V       ^T 

V~      m      1        f   m    _j               If 

s  •»            . 

^  •  J 

1    1    i    h  **      9  \ 

r(ffl-fr-r-«^^-?-*4«t-?  *  *    '   f  rj 

-LJ,J    •  *  * 

-*  *  •  J  "  gJ^ 

*   cv 

r-C  1      "f"    f  —  »—  a  ,  -f- 

i^> 

^           ^* 

~^^- 

fg=y^=^=ffrt 

*^    *-* 

*!i  .J5*  •  |«  |    • 

v-  1/                           ^    ^^^]    I  ! 

'_LJ  ;    ' 

r     \ 

P     ~Lj  Lu 

Par.  106b.     ELABORATE   REPRODUCTIONS  OF  SECOND  DIVISION.  IQO 

Extension 


7-:?-?- 


G  I 


Re  transition. 


GI 


Part  III.  (Group  of  3  Phrases). 


1 


Part  IV.  (transposed  recurrence  of  Part  II,  complete).   *2) 


etc. ;  see  Original. 

V 


A  Minor. 


Extension. 


EI 


Retransition. 


*3) 


Part  V. 


(recurrence  of  111 ). 
*  N 


MENDELSSOHN. 


v— -y- 


>*        etc.;  see  Original. 


i 


2OO  ELABORATE   REPRODUCTIONS  OF  SECOND  DIVISION.      Par.  106c. 

*i)  MENDELSSOHN,  "  Song  without  Words"  No.  34. 

*2)  The  entire  Second  Part  is  transferred  bodily  downward  a  3rd  ;  and 
the  transposition  is  literal,  only  excepting  in  measures  8  to  10  (chiefly  during 
the  "  extension  "). 

*3)  At  this  point,  the  purpose — and  the  method — of  regaining  the  original 
modulatory  line,  are  displayed.  The  Fourth  Part  ends  upon  E,  a  3rd  lower 
than  before;  here  the  same  Retransition  is  again  utilized,  but  it  gradually 
shifts  upzvnrd,  in  admirable  keeping  with  the  nature  of  the  figure,  until,  at 
Note  *4),  the  original  location,  upon  G,  is  reached. 

See  CHOPIN,  Mazurka  No.  33 ;  the  transposition  is  not  literal,  but  constant. 

RUBINSTEIN,  Le  Bal,  op.  14,  "  Contredanse,"  No.  3( Allegretto,  \  time); 
transposition  not  literal,  but  affecting  the  entire  Part. 

SCHUMANN,  Bnnte  Blatter  (op.  99)  No.  12  ("  Abendmusik  "),  Principal 
Song;  Part  II  distinct  and  repeated ;  Part  III  also  repeated,  alone. 

If,  as  is  somewhat  more  likely  to  be  the  case,  the  transposition 
of  Part  II  (as  Part  IV)  is  not  to  extend  uniformly  through  the 
entire  Part,  then  the  melodic  line  of  Part  IV  may  either  be  so 
conducted  as  to  return  at  some  point  (gradually  or  abruptly, 
as  proves  most  convenient)  to  the  original  line  of  Part  II ;  or 
Part  IV  may  be  abbreviated,  or  otherwise  so  manipulated  as  to  lead 
properly  into  the  key  of  Part  V. 

See  MENDELSSOHN,  "Song  without  Words"  No.  24;  Part  IV  sets  out 
a  step  higher  than  Part  II ;  the  transposition  is  not  literal,  but  constant,  so 
that  the  Parts  are  of  exactly  similar  length;  in  meas.  13  of  Part  IV,  the 
original  melodic  line  is  regained,  then  again  abandoned  for  i)^  measures,  and 
then  so  guided  as  to  close  precisely  as  Part  II  did. 

In  "Song  without  Words"  No.  14,  Part  IV  begins  a  fifth  lower  than 
Part  II  does,  and  adheres  to  this  interval  of  transposition  up  to  the  gth 
measure,  whereupon  a  skip  of  four  measures  occurs,  leading  abruptly  back 
into  the  original  melodic  line  of  Part  II,  the  last  3  measures  of  which  recur 
literally. 

In  No.  44,  the  transposition  is  only  partial,  affecting  the  second  half  (two 
measures)  of  Part  IV,  which  is  a  3rd  higher  than  the  corresponding  measures 
of  Part  II ;  the  change  of  key  spreads  slightly  beyond  the  limit  of  the  Part, 
however,  and  involves  the  first  chord  of  Part  V.  (See  par.  no.) 

(c)  In  the  3RD  STAGE,  the  idea  of  "transposition"  still 
prevails,  for  a  longer  or  shorter  period,  at  the  beginning  of  Part 
IV ;  but  the  change  of  key  gives  rise,  naturally,  to  other,  more 
radical,  changes  in  the  thematic  structure  of  the  Part,  which 
sometimes  assume  significant  proportions. 

See  MENDELSSOHN,  op.  72,  No.  5;  Part  IV  begins  a  step  higher  than  the 
Second  Part  does,  and  pursues  the  melodic  line  of  the  latter  quite  closely  for 
5  measures;  then  digresses,  and  expands,  but  closes  just  as  Part  II  did.— 
"Song  without  Words"  No.  43;  Part  IV  lies  a  4th  above  the  Second  Part 


Par.  lOGe.     ELABORATE   REPRODUCTIONS  OF  SECOND   DIVISION.  2O1 

for  4  measures;  then  diverges,  adds  3  "new"  measures,  and  leads  into  an 
intimation  of  the  First  Part  (as  Part  V).  This  intimation  is  almost  vague 
enough  to  justify  calling  these  two  "  Parts"  a  Coda. — "Song  without  Words" 
No.  17;  Part  I  is  a  small  Period,  4  meas.,  closing  with  an  imperfect  cadence; 
Part  III  has  exactly  the  same  melody,  but  modulates  into  a  similar  imperfect 
cadence,  thus  inaugurating  the  transposed  recurrence  of  Part  IV,  as  a  natural 
consequence;  Part  IV  utilizes  two  measures  of  Part  II,  then  diverges,  extend- 
ing the  given  material  in  an  independent  manner,  and,  omitting  all  the  rest  of 
Part  II,  closes  in  the  7th  measure;  a  long  Retrans.  follows. 

CRAMER,  Etude  17  (orig.  compl.  edition) ;  Part  IV  is  much  longer  than 
Part  II,  and  consists  of  two  similar  Sections,  both  ending  with  the  same 
complete  cadence.  This  last  example  might,  perhaps  more  accurately,  be 
classed  among  those  of  the  4th  Stage. 

CHOPIN,  Nocturne  8  (op.  27,  No.  2);  Part  I  9  measures,  imperfect  cadence ; 
Part  IV  follows  the  melodic  line  of  Part  II  quite  closely  for  8  measures  (at  first 
a  6th  above,  then  a  2nd  below),  and  then  leads  back  to  the  beginning  with 
a  shorter  and  more  emphatic  Retransition. 

SCHUBERT,  Pfte.  Son.  No.  10  (Br>  major),  Finale,  first  73  measures;  Part  I 
repeated;  Part  IV  begins  exactly  as  Part  II  does,  but  soon  diverges,  trans- 
poses, extends  and  adds  new  material,  to  considerable  length. 

(d)  In  the  4TH   STAGE  in  the  evolution  of  the   5-Part   Song- 
form,  the  Fourth  Part  no  longer  adheres  strictly  to  any  portion  of 
the  melodic  line  of  Part  II  (in  the  same  key.  or  a  different  one),  but 
is   a   completely   "reconstructed"    recurrence    of   the    latter.     This 
reconstruction,    however,    is   conducted   along   lines   corresponding 
generally  to  the  former  contents  and  style  of  Part  II,  so  that  a  more 
or  less  palpable  resemblance  between  the  two  versions  is  preserved. 

This  is  admirably  illustrated  in  CHOPIN,  Prelude  op.  28,  No.  17;  Part  II 
begins,  in  meas.  19,  with  an  enharmonic  change;  Part  III  contains  only  the 
first  half  of  Part  I,  and  ends  with  the  semicadence  at  that  point;  Part  IV  also 
starts  out  with  an  enharmonic  change,  imitates  the  conduct  of  the  Second  Part 
for  a  while,  but  is  longer  and  more  elaborate  than  the  latter.  Observe,  par- 
ticularly, the  dynamic  design,  also,  of  this  composition  (par.  95«). 

See  further,  MENDELSSOHN,  Praeludium  op.  35,  No.  2  (D  major);  Part  IV 
is  very  much  longer  than  Part  II,  and  resembles  the  latter  most  closely  in  its 
later  course. — SCHUMANN,  Arabesque  (op.  18),  "  Minore  I." 

(e)  In  STAGE  5,  finally,  all  palpable  resemblance  disappears, 
and   Part   IV   becomes   a   distinct   and  individual  member  of  the 
form, — independent    of    the    Second    Part,    notwithstanding    their 
coincidence    of    purpose.       For    this,    the    fully    developed,    5-Part 
Form,  a  new  title  might  be  adopted,  indicative  of  its  characteristic 
and   inviolable   derivation   from  the   tripartite   design,   namely :  A 


2O2  TREATMENT    OF    PART    FIVE.  Par.  107. 

3-Part  form  with  two  different  "  second  "  (or  "  middle  ")  Parts,  or 
"Departures"  (par.  8ia),  It  is  the  type  of  the  Form  explained 
in  par.  124. 

See  SCHUMANN,  Kreisleriana  (op.  16)  No.  6;  Humoreske  (op.  20),  "  Einfach 
und  zart"  ;  same  work,  "  Innig"  ;  Nachtstucke  (op.  23),  No.  4. 

BEETHOVEN,  Pfte.  Son.  op.  13,  Adagio;  Parts  I  and  V  repeated. — MOZART, 
11  Fantasie  and  Sonata"  in  c  minor,  Adagio  of  the  Sonata  (Cotta  ed.  No.  18). 
These  two  examples  are  both  unusually  broad  in  design,  and  approach  a  certain 
grade  of  the  Higher  Forms;  in  connection  with  which  they  will  again  be  cited, 
(n  another  volume. 

CHOPIN,  Mazurkas,  Nos.  i,  2,  5,  8,  15,  30  (long  Coda),  48. — Pfte.  Son.  No.  2 
(op.  35),  "  Piu  lento"  of  Scherzo  (Parts  IV  and  V  repeated). 

RUBINSTEIN,  Le  Bal(pp.  14),  "  Contredanse,"  Nos.  i,  2,  4. 

TREATMENT  OF  PART  FIVE. 

1  O"7.  In  all  of  the  above  cases  of  modified  reproduction  of 
the  second  Division,  the  Fifth  Part  is  an  additional  "  rettirn  "  to 
the  beginning  (or  da  capo),  and  therefore  it  is  likely  to  corroborate 
Part  III.  But  it  is  not  necessary  that  it  should  correspond  exactly 
to  the  latter.  All  the  various  modes  of  treating  the  Third  Part, — 
the  several  stages  of  divergence  from,  and  elaboration  of,  the  First 
Part,  enumerated  in  par.  IO2#,  b,  c,  and  d  (and  par.  990:,  b,  c), 
— may  be  exhibited  in  Part  V,  irrespective  of  the  species  of 
manipulation  previously  chosen  for  the  Third  Part.  Hence  it  is 
possible  that  Parts  I,  III  and  V,  while  essentially  corresponding 
in  contents,  may  all  differ  in  treatment,  each  representing  a  com- 
paratively independent  version  of  the  original  "  Statement  "  (par. 
Sia)  ;  perhaps  in  progressive  ratio, — Part  V  becoming  the  longer 
and  more  elaborate  of  the  three  versions  (comp.  par.  53)  ;  but,  on 
the  other  hand,  it  is  equally  consistent,  though  less  usual,  to 
abbreviate  the  third  "return,"  especially  in  lengthy  compositions, 
for  obvious  reasons. 

In  MENDELSSOHN,  "  Songs  without  Words,"  Nos.  19  and  24,  Part  V  is 
exactly  like  Part  III;  in  No.  48  it  is  a  slightly  variated  recurrence;  in  Nos.  34 
and  23  it  is  extended  a  trifle  at  the  end ;  in  No.  14  it  is  considerably  changed 
and  extended ;  in  No.  8  it  is  enriched  by  the  addition  of  new  material. 

In  MENDELSSOHN,  Praeludium,  op.  35,  No.  2,  Part  V  reproduces  a  larger 
portion  of  the  First  Part  than  the  Third  Part  does  (which  is  unusually  brief), 
then  adopts  the  whole  of  Part  II,  and  then  adds  new  material, — but  without 
disturbing  its  own  continuity. 

In  SCHUMANN,  Kreisleriana  (op.  16)  No.  6,  Part  III  is  an  extended  version 
of  Part  I,  while  the  Fifth  Part  returns  to  the  original  form  and  reproduces 
Part  I  almost  literally. 


Par.  108b.  OLD-FASHIONED   RONDEAU,  AND  y-PART  FORM.  2OJ 

In  SCHUBERT,  Pfte.  Son.  No.  10  (Bj>  major),  Andante  Movement,  Subordi- 
nate Theme  (3-sharp  signature),  the  First  Part  is  repeated  with  a  characteristic 
change  of  ?tvle ;  after  Part  III  is  closed,  a  similar  repetition  of  the  second 
Division  is  started ,  with  the  same  change  of  style,  and  with  every  indication 
of  genuine  purpose  ;  but  upon  approaching  the  end  of  Part  II  (IV)  the  purpose 
is  abandoned,  for  reasons  incidental  to  the  Higher  Form  of  which  it  is  a  portion, 
and,  consequently,  Part  V  does  not  appear  at  all. 

In  SCHUMANN,  op.  82,  Nos.  6  and  9,  a  somewhat  similar  omission  of 
Part  V  (the  final  da  capo)  occurs,  though  here  it  is  less  convincing,  because, 
unlike  the  SCHUBERT  example,  Part  IV  differs  from  Part  II.  These  examples 
will  be  cited  again,  in  par.  115. 

THE  OLD-FASHIONED  RONDEAU,  AND  THE  7-PART  FORM. 

1  O8a.  The  4th  and  5th  Stages  of  the  Five-Part  Song-form, 
explained  in  par.  io6d  and  e,  correspond  in  design  to  the  most 
common  species  of  the  "Rondeau," — a  form  that  was  in  vogue  in 
the  i  yth  and  i8th  centuries,  and  subsequently  developed  into  the 
more  elaborate  modern  "  Rondo." 

Illustrations  may  be  found  in  "  Les  Maitres  du  Clavecin"  (Litolff  ed.), 
Vol.  II,  pages  142,  148,  158,  Rondeaus  by  J.  PH.  RAMEAU. 

(b)  The  fundamental  idea  that  has  been  seen  to  result  in  the 
enlargement  or  growth  of  the  tripartite  design  into  one  of  five 
Parts,  is,  plainly,  that  of  multiplying  the  "Departures'1'1  from 
the  original  Statement  (Part  I),  in  connection  with  each  ensuing 
"Return."  This  idea  was  quite  frequently  carried  still  farther,  by 
older  writers ;  more, — it  must  be  observed, — with  an  eye  to  mere 
length,  than  to  compactness  and  true  beauty  of  form.  Thus,  the 
old-fashioned  Rondeau  often  embraced  three  and  even  more  differ- 
ent, but  kindred,  "Departures"  (or  "Counter-themes"),  each  in 
One-Part  form,  followed  by  as  many  recurrences  of  the  First  Part 
("  da  capos  "). 

See  J.  S.  BACH,  Partita  II,  "Rondeau"  (three  departures);  J.  PH. 
RAMEAU,  "Les  Maitres  du  Clavecin"  Vol.  II,  p.  144  (three  departures); 
FRANCOIS  COUPERIN,  same  publication,  Vol.  II,  pages  116,  126  (three  depar- 
tures). 

In  its  application  by  later,  and  by  some  modern,  composers 
to  the  system  of  musical  designs,  it  has  given  rise  to  a  form  which, 
by  analogy  with  the  above,  must  be  denominated  the  "SEVEN- 
PART  SONG-FORM."  Fortunately  for  the  purity,  concentration 
and  stability  of  musical  architecture,  these  attenuated,  restlessly 


.204  THE    IRREGULAR    PART-FORMS.  Par.  109. 

revolving  structural  designs,  whose  only  logical  justification  is  that 
of  alternation,  are  very  rarely  adopted.  The  student  of  musical 
FORM  should  shun  their  imitation. 

See  SCHUMANN,  Nachtstucke  (op.  23),  No.  i;  y-Part  Song-form  (i.  e.  a 
principal  Part, — parallel  Period, — with  3  different  and  distinct  "departures," 
and  as  many  da  capos),  followed  by  a  long  Coda  in  which  even  Parts  VIII  and 
IX  are  intimated. — Same  opus  (23),  No.  2,  measures  25  to  51 ;  7-Part  form  on 
a  diminutive  scale  (Part  I,  4  measures ;  II,  2  measures ;  III,  4  measures  ;  IV=  II 
transposed;  V,  6  measures;  VI,  5  measures;  VII,  4  measures,  followed  by 
Retransition  into  the  Principal  Song). — SCHUMANN,  op.  15,  No.  n;  y-Part 
form,  the  3rd  departure  (Part  VI)  identical  with  the  first  one  (Part  II). 


EXERCISE  33. 

A.  An  example  of  the  5-Part  Song-form,  Stage  2  (par.  io6£);  all  detailed 
conditions  optional.     Reference  may  be  made  to  par.  132.     See  par.  107. 

The  pupil  should,  hereafter,  endeavor  to  SKETCH  HIS  WORK  RAPIDLY, 
especially  the  PRINCIPAL  MELODIC  LINE  OR  LINES, — unless  his  musical 
disposition  be  such  as  to  render  such  a  desirable  process  impracticable  or 
insurmountably  difficult.  In  any  event,  it  is  wise  to  fill  out  as  much  of  the 
details  as  possible  with  all  necessary  accuracy  at  leisure,  after  the  main  design 
is  fixed.  See  par.  137.  

B.  An  example  of  Stage  3  (par.   io6c).     See  par.  107. — Application  of 
•par.  129,  or  130,  may  be  made,  if  desirable. 


C.  An  example  of  Stage  4  (par.  io6^f).    See  par.  107. — Application  of  par. 
133  may  be  made.  

D.  An  example  of  Staged  (par.  io6e).     Review  pars.  87,  88,  89,  90;  pars. 
95,  96;  par.  107. — Application  of  par.  134,  or  135,  may  be  made. 


CHAPTER   XVII. 
THE   IRREGULAR   PART-FORMS. 

1  O0.  There  are  a  few  other  varieties  of  these  musical  designs 
(consisting  in  the  association  or  compounding  of  "Parts")  which 
violate  one  or  another  of  the  essential  conditions  of  the  regular 
•structural  plan,  and  must,  therefore,  while  being  accepted  and 
-sanctioned,  be  qualified  as  "irregular."  The  pupil  can  not  afford 
to  remain  in  ignorance  of  them,  but  must  estimate  them  as  very 
Tare,  and  abstain  from  their  too  frequent  use. 


par.  110.  THE    TRANSPOSED    THIRD    PART.  205 

i.    THE  TRANSPOSED  THIRD  PART. 

1  1  O.  A  da  capo,  or  recurrence  of  the  First  Part,  beginning 
in  any  other  than  the  principal  key,  is  naturally  hazardous,  because 
the  resumption  of  the  original  key  (after  probable  absence  from  it 
during  Part  II)  is  quite  as  vital  an  indication  of  the  Third  Part,  as 
is  the  recurrence  of  the  first  melodic  member.  But  a  harmless  trans- 
position is  nevertheless  conceivable  under  the  following  conditions  : 

(1)  That  the  beginning  of  Part  I  is  of  so  striking  a  character 
in  melodic,   rhythmic   or  harmonic   respect,   that   its   recurrence  is 
sufficiently  convincing,  despite  the  change  of  key ; 

(2)  That  Part  III  appears  just  where  it  is  expected ; 

(3)  That  it  appears  at  nearly,  or  quite,  \\Afulllength;  and 

(4)  That  a  decided  return  to  the  principal  key  is  effectuated 
during  the  course  of  the  Third  Part. 

Further,  the  end  of  Part  II  should  be  plainly  recognizable. 

The  transposition  may  extend  through  the  entire  Third  Part, 
or  through  only  a  portion  of  it ;  but  will  always,  in  this  phase  of 
irregular  form,  affect  its  beginning. 

Illustrations  of  such  "tampering  with  the  beginning"  of  Part  III  as 
paves  the  way  to  the  deliberate  transposition  of  a  section,  or  all,  of  the  Part, 
have  been  cited  in  the  notes  to  Ex.  88,  and  context,  and  are  repeated  here  for 
renewed  reference:  MENDELSSOHN,  "  Songs  without  Words,"  Nos.  40,  41,  36, 
37  (first  measure  of  Part  III);  CHOPIN,  Mazurka  46(meas.  24-25);  Nocturne  16 
(op.  55,  No.  2,  meas.  9) ;  SCHUMANN,  Waldsccnen  (op.  82)  No.  4, — d  minor, 
meas.  23  (comp.  with  meas.  i);  BRAHMS,  Balladen  op.  10,  No.  4,  meas.  27-28 
(comp.  with  meas.  1-2) ;  Pfte.  Pieces,  op.  117,  No.  2,  meas.  51-54  (comp.  with 
meas.  1-3) ;  op.  118,  No.  2,  meas.  34-36  (comp.  with  meas.  1-2,  of  which  they 
are  the  "contrary  motion");  op.  118,  No.  6,  meas.  59-62  (comp.  with  meas. 
1-4);  op.  119,  No.  2,  second  tempo  (4-sharp  signature),  measures  25-26  (comp. 
with  meas.  1-2);  op.  119,  No.  3,  measures  41-42  (comp.  with  first  measure,  of 
which  they  are  an  "  augmentation  "). 

In  some  cases  the  transposition  of  Part  III  does  not  affect 
the  original  Tonic,  but  simply  changes  the  mode  from  major  to 
minor,  or  vice  versa.  But  usually  some  other  (almost  invariably 
next-related)  Tonic  is  chosen  ;  most  frequently  the  Subdominant. 
These  various  conditions,  concerning  the  manner,  the  extent,  and 
the  modulatory  relation  of  the  transposed  Third  Part,  are  illustrated 
in  the  following  : 

SCHUMANN,  Bunte  Blatter  (op.  99),  No.  n, — March  in  ^f-minor,  meas. 
27-30  (a  third  higher  than  first  Phrase  of  Part  I);  same  work,  No.  3  (Part  III 
in  Subdom.  key)  ;  Arabesque,  op.  18,  "  Minore  II  "  (Part  II  very  independent). 


2O6  THK  GROUP  OF  PARTS,  INCIPIENT  STAGE.  Par.  111. 

BRAHMS,  op.  116,  No.  5;  (Part  II  ends  on  Dom.,  as  usual;  Part  III  begins 
in  Subdom.  key,  and  follows  the  First  Part  closely  for  four  measures,  then 
becoming  more  independent). 

GRIEG,  op.  38,  No.  8,  first  tempo. 

BEETHOVEN,  Symphony  No.  3,  Funeral  March,  first  Theme;  (Part  III 
begins  in  Subdom.  key;  Parts  II  and  III  repeated;  Codettas).  —  Pfte.  Sonata, 
op.  14,  No.  i,  Finale,  one-sharp  signature.  Pfte.  Sonata,  op.  22,  Finale^ 
measures  72-103. 

BACH,  Well-tempered  Clavichord,  Vol.  I,  Prelude  9;  Vol.  II,  Prelude 
19  (in  each  case,  Part  III  begins  in  the  Subdominant  key);  Vol.  II,  Prelude 
22  (the  same  ;  Part  II  begins  in  meas.  16,  Part  III  in  meas.  55). 

SCHUBERT,  Moments  musicals  op.  94,  No.  i,  "Trio"  (one-sharp  signature; 
Part  III  the  Opposite  mode  of  Part  I  for  4  measures)  ;  Impromptu  op.  90, 
No.  4,  "Trio"  (four-sharp  signature;  similar);  Fantasie  in  G,  op.  78,  "  Trio  " 
of  Menuetto;  String-quartet  in  A,  op.  29,  Menuetto. 

CHOPIN,  Nocturne  12  (op.  37,  No.  2),  meas.  30-69.  —  Impromptu,  op.  36 
;  a  unique  example,  the  Parts  very  broad,  very  elaborate  Coda. 


Sometimes  this  transposed  recurrence  is  applied  to  the  Fifth 
Part  (par.  107). 

And  it  is  not  infrequently  involved  by  some  modulatory  design 
extending  through  an  entire  5-Part  Form. 

HAYDN,  Symphony  12  (Peters  ed.),  Adagio;  (Part  V  transposed,  extended, 
and  reproduced  in  original  key;  quasi  7-Part  form,  with  Coda). 

CHOPIN,  Etude  op.  25,  No.  3  (Parts  III  and  IV  transposed  ;  Part  V  again 
in  original  key  ;  quaint  modulatory  design). 

SCHUMANN,  Faschingsschivank  op.  26,  movement  IV,  "Intermezzo" 
(key-scheme  :  Part  I,  <fy-<fy-F;  Part  III,  e\)-a\)-B'v  ;  Part  V,  a\}-d\>-E$).  These 
last  two  unique  examples  should  be  carefully  examined. 


2.    THE  GROUP  OF  PARTS,  INCIPIENT  STAGE. 

111.  The  distinction  made  in  chap.  VII  (particularly  pars. 
57»  5^»  59)  between  the  regular,  coherent  forms,  and  the  more 
loosely  connected  group-formations,  may  be  extended  to  the 
Part-forms  also.  Thus,  the  "Parts,"  even  in  the  3-Part  form, 
are  sometimes  so  loosely  associated,  with  so  little  regard  to  the 
principles  of  logical  continuity  and  cohesion,  that  only  the  term 
"Group"  may  justly  be  applied.  This  disintegration  of  the  form 
is  initiated  by  all  such  liberties  in  the  structure  of  the  Second  Part 
as  tend  to  isolate  it  from  its  fellows,  either  in  consequence  of 
thematic  independence  and  diversity,  or  of  more  or  less  complete 
separation  by  a  full  cadence. 


Par.  113.  THE  GROUP  OF  PARTS,   INCIPIENT  STAGE. 

112.  Some   of   these   irregularities   have    already   been   inti- 
mated— in    par.     87^,     and    105$ ;     but    it    is    necessary,    here,    to 
enumerate  them  more  specifically. 

(a)  Cases  of  UNDUE  ISOLATION  OR  DISTINCTNESS  OF  PART  II, 
caused  by  striking  difference  in  style  or  thematic  structure,  or  by 
complete  detachment  (at  the  cadence)  from  Part  III,  are  exhibited 
in  the  following  : 

SCHUMANN,  Kreisleriana  (op.  16)  No.  4;  Albumblatter  (op.  124)  No.  3. 

CHOPIN,  Nocturne  4  (op.  15,  No.  i). — BRAHMS,  op.  118,  No.  5. 

In  BRAHMS,  op.  117,  No.  2,  the  Second  Part  is  thematically  almost 
identical  with  Part  I,  but  radically  different  in  style,  through  its  entire  length. 

In  BRAHMS,  op.  116,  No.  2,  and  GRIEG,  op.  38,  No.  i,  the  distinct  Second 
Part  is  followed  by  quite  an  elaborate  Retransition. 

(b)  A  REPETITION    OF  THE  SECOND  PART  ALONE    often    OCCUrS 

in  direct  consequence  of  such  distinctness  of  character.      Compare 
par.  103;  and  par.  1050,  last  clause.     For  illustration,  see: 

BEETHOVEN,  Bagatelle  op.  33,  No.  2;  Pfte.  Son.  op.  14,  No.  2,  Finale, 
meas.  73-124  (Part  II  repeated  and  extended;  followed  by  a  Retransition). — 
Ex.  91  of  this  book. — CHOPIN,  Mazurka  No.  24. — SCHUMANN,  op.  124,  No.  4; 
op.  15,  No.  6. — GRIEG,  op.  38,  No.  7. 

An  extraordinary  example  is  found  in  BEETHOVEN,  Pfte.  Son.  op.  90, 
Finale,  first  32  measures ;  peculiar,  not  only  because  of  the  (apparently 
uncalled-for)  repetition  of  Part  II,  but  chiefly  for  its  modulatory  design;  each 
of  the  three  Parts, — including  Part  II  and  its  repetition, — closes  ^vith  a  perf. 
cadence  in  the  principal  key.  Such  daring  experiments  as  this  are  for  the 
pupil's  amazement,  not  for  his  imitation ;  he  must  defer  them  to  the  period 
of  his  most  absolute  maturity. — Compare  par.  88. 

113.  Indirectly   analogous    to    the    Transposed   Third   Part 
(par.    no),  is   the   SEQUENTIAL,  OR  TRANSPOSED,  REPRODUCTION 
of  one   or  another  of  the   Parts, — a   process   which   also   militates 
against  the  stability  of  the  structure.      See  : 

BACH,  Well-tempered  Clavichord,  Vol.  II,  Prelude  No.  n  (F  major); 
modified  sequence  of  Part  I,  in  meas.  17-32. 

CHOPIN,  Prel.  op.  28,  No.  24;  sequential  reproduction  of  First  Part,  in 
meas.  21-38.  Nocturne  18  (op.  62,  No.  2),  meas.  32-57;  Two-Part  form,  Part 
II  sequentially  reproduced  (a  third  higher).  Nocturne  10  (op.  32,  No.  2)  pit* 
agitato  ;  Two-Part  form,  reproduced  bodily  a  half-step  higher. 

SCHUBERT,  Fantasie  in  G  (op.  78)  Andante,  meas.  31-49;  a  2-Part  form  with 
Codetta,  followed,  in  the  next  19  measures,  by  a  slightly  modified  sequence. 

BRAHMS,  Pfte.  Son.  op.  i,  Finale,  second  Subject  (one-sharp  signature); 
Third  Part  extended  by  elaborate  transposed  reproduction. 


2O8        GROUP  OF  PARTS,  DEVELOPED,  AND  EXTENDED.     Kir.  115. 


3.    GROUP  OF  PARTS,   DEVELOPED,  AND  EXTENDED. 

1  1  4.  The  disintegration  of  the  regular  Song-form,  of  which 
the  above  paragraphs  exhibit  the  incipient  stages,  becomes  complete 
•when  Part  member  Three  (unmistakably  identified  as  such  by 
its  style,  and  by  the  foregoing  cadence)  does  not  in  any  sense 
correspond  to  the  First  Part.  Comp.  par.  8ia.  For  such  a  series 
of  three  independent  Parts,  no  other  epithet  than  "Group"  can 
properly  be  employed.  Review  69^,  and  70.  See  : 

HAYDN,  Symphony  No.  9  (Peters  ed.),  finale,  principal  Theme.  (Part  I, 
8-meas.  Period;  Part  II,  8-meas.  Period,  with  strong  perf.  cadence  on  original 
Tonic  ;  Part  III,  i6-measure  Double  period, — suggestive  of  the  foregoing  Parts, 
but  unquestionably  independent  of  them). 

SCHUMANN,  Papillons  (op.  2)  No.  9,— Parts  II  and  III  similar,  each  Part 
repeated. 

1  15.  Such  examples  of  the  Group-form  as  are  thus  limited 
to  three  Parts,  are,  however,  very  rare.  It  is  far  more  usual,  when 
this  irregular  design  is  adopted,  to  extend  it  to  four  or  more  Parts. 

And,  quite  frequently,  the  specific  principle  of  the  tripartite 
forms  is  manifested  by  a  "return  to  the  beginning"  (Part  I),  in 
one  of  the  later  Parts, — generally  the  last  one.  In  this  case,  espe- 
cially, the  possibility,  and  occasional  presence,  of  an  independent 
Coda  to  the  Group  may  be  demonstrated.  For  illustrations,  see  : 

BEETHOVEN,  Bagatelle  op.  119,  No.  3  (five  Parts,  each  repeated,  and 
Coda;  Part  V  like  I). — SCHUBERT,  Momens  musicals  op.  94,  No.  3  (four  Parts 
and  Coda;  Part  IV  like  I). 

CHOPIN,  Nocturne  5  (op.  15,  No.  2; — four  Parts,  and  Codetta;  Part  IV 
like  I).  Nocturne  6, — four  distinct  Parts.  Nocturne  9  (op.  32,  No.  i ;  peculiar ; 
Parts  I  to  III  regular, — III  like  I ;  followed  by  a  Fourth  Part  which  embraces 
a  transposed  recurrence  of  Part  II,  and  is  repeated,  with  Codetta-extension). 
— Mazurkas,  Nos.  3,  7,  20  (five  Parts,  V  like  I);  Mazurkas,  Nos.  14,  19,  21,  39 
and  41  (four  Parts,  IV  like  I);  Mazurka  No.  27  (five  Parts,  thus:  I,  II,  III,  II,  I); 
Mazurka  34  (six  Parts,  VI  like  II;  each  Part  repeated);  Mazurka  35  (seven 
Parts;  I  repeated;  VI  like  III;  VII  like  I;  VII  reproduced,  "dissolved"  and 
extended;  Coda). 

SCHUMANN,  Waldscenen  (op.  82),  No.  6,  represents  an  ostensible  5-Part 
form  (Part  III  like  I)  with  omission  of  the  final  da  capo  (Part  V).  Such 
deficiencies  are  usually  made  partly  good  in  the  Coda;  but  in  this  case  there 
is  no  more  than  a  trace  (in  the  last  measure)  of  such  a  compensation.  Op.  82, 
No.  9,  is  almost  precisely  the  same.  In  the  Papillons  (op.  2),  No.  8,  the  form 
is  ostensibly  3-Part,  with  introductory  Part  (four  in  all). 


Par.  115.     GROUP  OF  PARTS,  DEVELOPED,  AND  EXTENDED.        209 

BRAHMS,  Capriccio,  op.  76,  No.  5  (six  Parts,  III  like  I,  V  like  II,  VI 
like  III,  brief  Coda;  the  form  is  quasi  5-Part,  first  stage, — par.  io6#, — with 
interpolated  Part  after  Part  III). 


EXERCISE  34. 

A.  An  example  of  the  3-Part  Song-form  with  transposed  Third  Part 
(par.  no).  Choice  of  key  optional;  and  the  transposition  may  extend  through 
the  whole,  or  only  a  portion,  of  Part  I.  Apply  par.  129,  or  130.  See  par.  137. 


B.     One  example  of  the  Group  of  Parts,  according  to  par.  115.     Apply 
par.  133,  or  131. 


2IO  TIIK    SOXCi-FOR.M    WITH    ONE     "TRIO.  Par.  IIT. 

DIVISION   THREE. 

THE  COMPOUND  SONG-FORMS. 


116.  The  last  degree  of  enlargement  and  development 
possible  within  the  domain  of  the  homophonic  forms,  is  achieved 
by  associating  complete  Song-forms.  See  par.  69*". 

The  association  is  effected  in  general  accordance  with  the  rules 
governing  the  union  of  Parts  in  the  3-Part  and  5-Part  forms,  but 
with  less  stringency.  Thus,  while  the  law  of  "Recurrence"  must 
be  respected,  more  latitude  is  permitted  in  regard  to  thematic  and 
formative  relation  between  the  several  Song-forms ;  and  uninter- 
rupted connection  at  the  points  of  contact,  is  the  exception,  rather 
than  the  rule. 

CHAPTER    XVIII. 
THE    SONG-FORM   WITH    ONE   "TRIO." 

1  IT.  The  most  common  of  these  Compound  forms  consists 
in  the  association  of  two  Song-forms.  The  one  which  comes  first 
is  called  the  PRINCIPAL  SONG  (chiefly  by  virtue  of  its  location,  and 
its  recurrence)  ;  the  second  one  in  the  series  is  commonly  called  the 
"TRio"  (for  reasons  derived  from  a  now  obsolete  custom),  but  the 
designation  adopted  in  this  book,  in  analogy  with  the  terminology 
of  all  Higher  forms,  is  "  SUBORDINATE  SONG." 

After  the  latter,  the  Prin.  Song  recurs,  as  a  "DA  CAPO," 
conformably  with  the  ruling  principle  of  all  tripartite  designs. 
Thus,  the  Song-form  with  one  "Trio"  is  perceived  to  be  a  broader 
exposition  of  the  3-Part  Song- form,  in  which  each  "Part"  has 
expanded  into  a  complete  "Song-form."  Compare  par.  77  > 
810;  91. 

Besides  the  popular  term  "Trio,"  many  others  are  employed  by  different 
composers  to  indicate  the  Subord.  Song  in  their  Compound  Song-forms; 
e.g.,  "  Alternative, "  "Intermezzo,"  "Musette"  (in  the  Gavotte),  "Fris" 
or  "Friska"  (after  the  "  Lassan "  in  the  Hungarian  Czardas).  In  older 
compositions,  the  successive  Song-forms  were  sometimes  simply  numbered  r 


Par.  llSc.  THE    PRINCIPAL    SONG.  211 

Menuet  I,  Menuet  II;  Passepied  I,  Passepied  II,  etc.  (BACH,  2nd  English 
Suite).  Sometimes  the  terms  "  Minore  "  and  "  Maggiore  "  are  used,  indicating 
at  the  same  time  the  corresponding  change  of  mode  for  the  Subordinate  Song; 
and  frequently,  for  a  similar  reason,  the  sign  of  altered  tempo  or  character 
("  piu  lento,"  "  meno  mosso,"  etc.)  serves  to  denote  the  second  Song-form. 
Finally,  all  external  indication  is  often  omitted,  save  perhaps  a  change  of 
signature.  The  derivation  of  the  term  "Trio"  is  illustrated  in  BACH,  3rd 
French  Suite,  Menuet  (Prin.  Song  for  two  melodic  parts,  Subord.  Song  for 
three,  hence  a  "  Trio  "). 

The  details  of  the  SONG-FORM  WITH  "  TRIO  "  are  as  follows: 

THE  PRINCIPAL  SONG. 

1  1  8a.  The  PRINCIPAL  SONG  may  be  of  any  character,  and 
is  constructed  most  frequently  in  the  3-Part  Song-form,  with  all 
repetitions  ;  possibly  with  a  brief  Codetta.  As  a  rule,  it  closes  with 
a  strong  perfect  cadence  in  its  own  key,  sufficient  to  constitute 
absolute  independence  of  form. 

See:  BEETHOVEN,  Pfte.  Son.  op.  2,  No.  i,  Menuetto,  first  Song  (40  meas- 
ures) ;  3-Part  form,  all  repetitions. — Pfte.  Son.  op.  2,  No.  2,  Scherzo  (ditto). — 
In  HAYDN,  Pfte.  Son.  No.  6  (Cotta  ed.),  first  movement,  the  Principal  Song 
is  repeated  entire,  as  Variation,  before  the  Subord.  Song  appears. 

(b)  A  Prin.  Song  in  2-Part  Song-form  is  very  unusual;  and 
still  more  rarely  is  the  One-Part  form  chosen.     In  the  latter  case, 
the   Subord.   Song  must  be  at  least   2-  or  3-Part  form,   and  very 
distinct  in  character. 

See:  CHOPIN,  Mazurka  No.  50,  first  32  measures  (2-Part  form,  each  Part 
separately  repeated). — BEETHOVEN,  Pfte.  Son.  op.  31,  No.  3,  Menuetto  (ditto); 
Pfte.  Son.  op.  no,  second  movement,  first  signature  (2-Part  form). — BRAHMS, 
op.  116,  No.  3,  first  34  meas.  (Prin.  Song  only  One-Part  form, — ext.  Double 
period  ;  but  the  following  Subord.  Song  is  3-Part  form  and  distinct).  Op.  116, 
No.  7  (similar). — Hungarian  Dances,  No.  i  (Prin.  Song  2-Part  form,  each 
Part  repeated);  Nos.  5,  6,  9,  similar. — CHOPIN,  Nocturne  No.  i  (Prin.  Song, 
One-Part). 

(c)  In  some  comparatively  rare  cases,  a  very  brief  TRANSITION 
intervenes  between  the  Prin.  Song  and  the  following  "Trio."     It 
serves  as  a  mediating  link  between  the   different  styles  and  keys 
of  the  two  Songs,  and  becomes  more  necessary,  and  more  extended, 
in  proportion  to  the  degree  of  their  differentiation.      It  need  not 
impair    the    independence    of   the    Prin.    Song,    for    the    complete 
cadence  of  the  latter  may  precede  the  transitional  passage ;  though 
sometimes  this  cadence  is  so  modified  or  concealed  that  the  Tran- 
sition may  emerge  from  it. 


212  THE    SUBORDINATE    SONG,    OR    "TRIO."  Par.  119. 

See:  BEETHOVEN,  Pfte.  Son.  op.  14,  No.  i, second  movement  (Prin.  Song, 
3-Part  form  with  Codetta;  one  measure  of  Transition). — HAYDN,  Symphony 
No.  3  (Peters  ed.),  Menuetto  (2  meas.  of  Transition  precede  the  "Trio"). — 
CHOPIN,  Prelude  op.  28,  No.  15  (Prin.  Song  3-Part  form,  cadence  evaded—- 
measure 27 — by  resting  on  Dominant). — SCHUMANN,  Waldscencn  (op.  82),  No. 
8;  Prin.  Song  3-Part  form,  long  Codetta;  the  cadence-measure  transitionally 
bridged. 

THE  SUBORDINATE  SONG,   OR  "TRIO." 

1  19.  The  SUBORDINATE  SONG,  or  "Trio,"  should  contrast 
quite  positively  in  general  character  with  its  Principal  Song, 
though  radical  or  extreme  difference  of  style,  to  the  utter  exclusion 
of  organic  interdependence,  consistency,  and  congruity,  must  be 
avoided.  In  some  examples,  especially  older  Dances,  there  is 
scarcely  any  recognizable  diversity  between  the  two  Songs ;  but 
in  more  modern  composition,  contrast  and  separation  are  the  laws 
of  the  Subord.  Song. 

In  BEETHOVEN,  Pfte.  Son.  op.  2,  No.  i,  Menuetto,  the  Prin.  Song  is 
rhythmically  marked,  and  somewhat  dramatic;  the  "Trio"  is  smooth  and 
more  lyric ;  but  the  organic  harmony  between  them  is  perfect.  In  the  next 
Sonata,  op.  2,  No.  2,  Scherzo,  the  contrast  is  more  striking;  and  in  the  3rd 
movement  of  the  next  (op.  2,  No.  3)  it  is  still  more  emphatic ;  but  in  both, 
admirable  consistency  is  preserved. 

Thematic  relation  of  the  Subord.  Song  to  its  Prin.  Song  is 
uncommon,  and,  when  it  appears,  it  must  be  counteracted  by  more 
complete  contrast  in  style. 

See:  HAYDN,  Pfte.  Son.  No.  6  (Cotta  ed.),  first  movement;  the  first  figure 
of  the  Subord.  Song  corresponds  closely  to  that  of  the  Prin.  Song;  the  rest 
is  thematically  independent,  but  similar  in  style. — In  the  next  Son.  (No.  7), 
Finale,  the  Prin.  Song  is  in  2-Part  form;  the  Subord.  Song  resembles  it,  for 
a  time,  so  closely  that  it  appears  to  be  no  more  than  a  Variation  of  the  former; 
but  it  is  in  3-Part  form,  and  in  the  opposite  mode. — In  BRAHMS,  op.  116,  No.  3, 
and  op.  119,  No.  2,  the  thematic  material  of  the  two  Songs  is  identical,  but  the 
change  in  style  almost  radical,  especially  in  the  latter  example. 

But  the  entire  perplexing  question  of  analogy  (consistency, 
inner  and  outer  harmony)  between  the  two  Songs  in  this  Compound 
form,  depends  more  largely  upon  the  correlation  of  Time,  Key  and 
Tempo.  These  establish  the  requisite  external  conformity  without 
encroaching  upon  the  conditions  of  contrast  and  separation  ;  while 
thematic  coincidence  may  only  ensure  the  more  vague  and  (in 
homophonic  forms)  comparatively  unessential  inner  affinity. 


Par.  119b.  THE    SUBORDINATE    SONG,    OR    "TRIO."  213 

(a)  The  TIME  of  the  Subord.  Song  is  almost  invariably  the 
same  as  that  of  its  Prin.  Song;   i.  e.,  both  are  either  in   duple,  or 
triple,  measure.      Exceptions  : 

In  CHOPIN,  G^-major  Impromptu,  and  Nocturne  No.  ro,  C  or  Jjj  and  ^ 
time  are  interchanged.  In  Nocturne  14  (op.  48,  No.  2)  the  Prin.  Song  is  in 
|  time,  and  the  "Trio''  (molto  pih  lento)  in  J. — In  BRAHMS,  op.  116,  No.  7,  the 
time  changes  from  f  to  jj. — BEETHOVEN,  Symphony  No.  6,  third  movement; 
change  from  |  to  |. — It  must  be  emphasized,  that  this  is  exceedingly  un- 
common. 

(b)  The  KEY  of  the  Subord.  Song  is  always  related,  in  some 
degree,  to  that  of  the  Prin.  Song,  though  unlimited  option  prevails 
in  the  choice  of  relationship  (near  or  remote).      In  the  oldest,  and 
in  some  modern,  examples,  the  selfsame  key  is  retained;   in  which 
case  the  separation  of  the  Songs,  and  their  respective  completeness 
of  form,  is  more  strongly  marked  : 

HAYDN,  Symphonies  (Peters  ed.),  Nos.  i,  4,  5,  6,  7,  8,  10,  n.  12, — third 
movement  of  each.  BEETHOVEN,  Symphonies,  Nos.  i,  2,  3,  4,  6,  8, — third 
movement  of  each. 

The  next  step  to  this,  in  the  early  history  of  the  "Trio," 
appears  to  have  been  the  choice  of  the  Opposite  Mode  of  the  same 
Tonic  : 

BEETHOVEN,  Symphony  No.  5,  third  movement  (c-minor  and   C-major); 
Pfte.  Sonatas,  op.  2,  No.  I ;  op.  2,  No.  2;  op.  7, — third  movement  of  each. 
BRAHMS,  op.  119,  No.  2. — CHOPIN,  Polonaise  No.  i. 

The  Relative  (major  or  minor)  key  is  found  in  : 

BEETHOVEN,  Pfte.  Sonatas,  op.  2,  No.  3,  third  movement  (C-major  and 
o-minor) ;  op.  22,  op.  28,  third  movement  of  each. 

Next  to  these  in  popularity  is  the  choice  of  the  Subdominant 
key  (or  its  Relative)  for  the  "Trio";  this,  in  the  modern  March 
and  in  many  Dances,  has  become  a  usage  almost  equivalent  to 
a  rule.  It  is  notably  appropriate  in  the  homophonic  domain  of 
musical  architecture,  because  the  inclination  to  relax  toward  the 
lower  (Subdom.)  keynotes, — in  distinction  to  the  aspiring  impres- 
sion conveyed  by  the  upper  (Dominant)  ones, — is  characteristic  of 
the  inferior  range  of  forms.  This  point,  which  is  of  vital  moment 
in  the  Complex  forms,  will  be  reverted  to  in  connection  with  the 
Rondo-  and  Sonata-forms,  in  a  subsequent  Volume. 


214  THE    SUBORDINATE    SONG,    OR    "TRIO."  Par.  119d. 

The  Subdom.  key  appears  in  BEETHOVEN,  Pfte.  Son.  op.  10,  No.  3,  third 
movement,  (Z>-major  and  G-major)  ;  and  in  Pfte.  Son.  op.  101,  second  move- 
ment (March). — The  Relative  of  the  Subdom.  in  BEETHOVEN,  Pfte.  Son. 
op.  10,  No.  2,  second  movement  (/"-minor  and  Z>p-major);  also  op.  14,  No.  i; 
and  op.  27,  No.  i,  second  movement  of  each. 

See  also:  CHOPIN,  Polonaises,  No.  2,  No.  3,  No.  4. 

Other    possibilities    of    key-relation    between    the    Prin.    and 
Subord.   Songs  are  exhibited  in  the  following  : 

BEETHOVEN.  Symphony  No.  7,  third  movement  (Mediant-Dominant 
relation, — F-major  and  Z>-major, — the  Mediant  of  the  key  of  the  Prin.  Song 
is  the  Dominant  of  the  "Trio").  The  same  relation  obtains  in  HAYDN, 
Symphony  No.  3  (Peters  ed.),  third  movement. — In  HAYDN,  Symphony  No.  2, 
third  movement,  the  keys  are  D  and  .ffj?-major  (Tonic-Mediant  relation). — 
The  same  in  CHOPIN,  Polonaise  No.  6. — BRAHMS,  op.  116,  No.  6  (Dominant- 
Relative  key).  SCHUBERT,  Impromptu  op.  90,  No.  2  (2?r)-major  and  £-minor). 

(c)  The  TEMPO  of  the  Subord.  Song  is  very  often,   perhaps 
usually,  a  little  more  tranquil  than  that  of  the  Prin.  Song;  though 
it  may  be  the  reverse  of  this,  and,  sometimes,  it  remains  unchanged. 
This  is  dictated  by  the  consideration  of  contrast,  which   prevails, 
mildly,  in  this  respect  also.      See  : 

BEETHOVEN,  Symphony  No.  4,  Menuetto  ("Trio" — un  poco  meno  Allegro); 
Sym.  No.  7,  third  movement  ("  Trio" — Presto  tne.no  assai). — BRAHMS,  op.  116, 
No.  3  (Subord.  Song — un  poco  meno  Allegro). — CHOPIN,  Nocturne  13  (poco 
piu  lento): 

MENDELSSOHN,  Pfte.  Son.  op.  6,  second  movement  ("  Trio  '' — pih  vivace). 

GRIEG,  op.  38,  No.  8  (piu  mosso,  ma  tranquillo). 

In  BEETHOVEN,  Pfte.  Son.  op.  26,  second  movement, — as  in  the  majority  of 
cases, — no  tempo-mark  is  given  for  the  "Trio";  but  it  is  manifestly  more 
tranquil  in  character  than  the  Prin.  Song,  and  will  almost  certainly  suggest 
a  slight  relaxation  of  speed, — to  a  thoughtful  and  susceptible  performer. 

(d)  The  FORM  of  the  "Trio"  is  generally  Three-Part;  occa- 
sionally only  Two-Part.     The  One-Part  form  is  very  uncommon, 
and  can  be  chosen  only  when  the  Subord.   Song  is  very  distinct 
in  character,  and  when  its  Prin.  Song  contains  at  least  two  Parts, 
— compare  par.  n8£.     See  : 

BEETHOVEN,  Pfte.  Son.  op.  2,  No.  i,  Menuetto  ("Trio"  3-Part  Song-form); 
op.  10,  No.  2,  second  movement  (Subord.  Song  in  3-Part  form,  with  modified 
repetitions). 

BEETHOVEN,  Pfte.  Son.  op.  26,  second  and  third  movements  ("Trio"  in 
each  case  2-Part  form);  the  same  in  op.  27,  No.  i,  second  movement,  and 
op.  27,  No.  2,  second  movement. 

CHOPIN,  Mazurka  10  (Prin.  Song  3-Part;  Subord.  Song  only  One-Part 
form,  but  distinct) ;  Mazurkas  45  and  46  ("  Trio"  One-Part  form) ;  Mazurka  51 


Par.  ]  20.  THE    ' '  DA    CAPO."  21$ 

("Trio"  one  large  Part). — SCHUMANN,  Waldscenen,  op.  82,  No.  7  (Prin. 
Song  Two-Part  form  with  Codetta;  Subord.  Song,  one  Part). — BEETHOVEN, 
Bagatelle,  op.  33,  No.  4  (Subord.  Song,  one  Part);  Pfte.  Son.  op.  10,  No.  3, 
Menuetto  (ditto). — BRAHMS,  op.  116,  No.  6,  and  op.  117,  No.  i,  the  same. 

(0)  While  the  Subord.  Song,  like  the  Principal  one,  is 
expected  to  terminate  with  a  complete  perfect  cadence, — as  implied 
in  par.  116, — it  is  by  no  means  uncommon  to  introduce  a  brief 
RETRANSITIOX  after  the  Subord.  Song,  serving  to  lead  smoothly 
back  into  the  recurrence  of  the  Prin.  Song,  or  "  Da  capo."  Comp. 
par.  C)oc.  It  is  more  necessary  than  the  Transition  into  the 
Subord.  Song  (par.  n8c),  because,  the  form  having  once  been 
expanded  by  the  addition  of  a  Subord.  Song,  the  "Da  capo"  is 
inevitable. 

The  Retransition  may  be  independent  of  the  Subord.  Song, — 
following  after  the  complete  cadence  of  the  latter ;  or  it  may  be 
evolved  by  dissolution  and  modification  of  the  cadence-member. 
The  details  may  be  apprehended  from  the  following  examples  : 

BEETHOVEN.  Pfte.  Son.  op.  7,  third  movement,  end  of  "  Minore "  (two 
measures  of  Re-transition);  op.  10,  No.  2,  second  movement  (6  meas.  of 
independent  Re-transition);  op.  26,  Scherzo  (4  meas.  of  Re-transition);  op.  2, 
No.  3,  Scherzo  (the  "Trio"  is  in  3-Part  form  ;  Parts  II  and  III  are  repeated, 
and  the  latter  is  so  modified, — dissolved, — at  its  end,  as  to  lead  away  from  its 
own  Tonic,  into  the  Dominant  of  the  Prin.  Song,  which  follows  as  "Da 
capo");  op.  10,  No.  3,  Menuetto  (similarly,  the  "Trio"  ends  on  the  Dom.  of 
the  Prin.  Song);  op.  14,  No.  i,  second  movement  (the  same). — BEETHOVEN, 
Symphony  No.  3,  and  No.  5,  third  movement  of  each. — HAYDN,  Symphony 
No.  2  (Peters  ed.),  and  No.  3,  third  movement  of  each. — BRAHMS,  op.  116,  No.  7 
(elaborate  independent  Re-transition,  after  the  Subord.  Song);  op.  117,  No.  3 
(the  same). 

THE  "  DA  CAPO." 

1  2O.  The  recurrence  of  the  Prin.  Song,  or  the  so-called 
"  DA  CAPO,"  after  the  Subordinate  Song,  is,  as  a  rule,  literal 
When  such  is  the  case,  it  being  unnecessary  to  write  out  the  entire 
Prin.  Song  again,  its  reproduction  is  merely  indicated  by  the 
•words  da  capo  (i.  e.,  "from  the  beginning"),  or  simply  the  letters 
D.  C.  ;  or  dal  segno  (i.e.,  "  from  the  sign  ' '  —  ££  — )  in  case  the  first 
few  tones  or  measures  are  so  involved  in  the  Re-transition  as  to 
be  excepted  from  the  recurrence. 

It  is  a  rule,  however, — with  no  other  foundation  than  tradition, 
— that  such  repetitions  of  the  Parts  as  may  have  occurred  at  first, 
are  to  be  omitted  in  the  "Da  capo";  hence  the  directions  often 
encountered  :  D '.  C.  ma  senza  ripetizione. 


2l6  THE    "DA    CAPO."  Par.  ISO. 

See:  BEETHOVEN,  Pfte.  Son.  op.  2,  No.  i,  third  movement,  end  of 
"Trio";  op.  10,  No.  3,  Menuetto,  end  of  "Trio";  op.  22,  Mcnuetto  ;  and 
op.  26,  Scherzo,  end  of  "  Trio." — CHOPIN,  Polonaise  I ;  Mazurka  6,  12,  etc. 

The  "  Da  capo,"  as  a  literal  reproduction  of  the  Prin.  Song, 
is,  as  implied  above,  the  species  which  characterizes  the  genuine 
Song-form  with  "Trio." 

But  slight  modifications  or  variations  of  the  "  Da  capo,"  as 
long  as  they  remain  thoroughly  zinessential,  are  permissible.  In 
such  cases  the  recurrence  of  the  Prin.  Song  (Menuetto,  Scherzo, 
or  whatever  it  be)  is,  of  course,  written  out. 

N.  B.  It  must  be  strictly  borne  in  mind,  that,  as  the  modifi- 
cations of  the  "Da  capo"  become  more  and  more  elaborate,  the 
design  diverges  in  the  same  ratio  from  the  specifically  homophonic 
Compound  Song-form,  and  approaches  the  spirit  and  detail  of  the 
Rondo  form. 

See  BEETHOVEN,  Pfte.  Son.  op.  31,  No.  3,  Menuetto  ;  the  "Da  capo"  is 
written  out,  but  not  a  tone  is  altered,  excepting  the  final  chord.  Writing  out 
the  literal  reproduction  of  the  Prin.  Song  appears  whimsical,  but  it  is  often 
involved  by  the  Coda,  and  may  be  done  purely  for  the  convenience  of  the 
player. 

CHOPIN,  Mazurka  No.  23  (literal)'  No.  47  (literal,  excepting  repetitions); 
Impromptu,  op.  29  (Afy-ma)or),  literal;  Impromptu,  op.  66  (r$-minor),  literal, 
excepting  introduction. — SCHUBERT,  Momens  musicals,  op.  94,  Nos.  i  and  4. 

The  "  Da  capo  "  is  slightly  variated  in  CHOPIN,  Nocturnes  No.  n,  No.  10, 
No.  i. — BRAHMS,  op.  116,  No.  3;  op.  117,  No.  i;  op.  117,  No.  3  (repetitions 
also  omitted);  op.  119,  No.  2. 

Somewhat  more  elaborate  variation  occurs  in  the  "  Da  capo  "  of  CHOPIN, 
Nocturne  No.  13;  BEETHOVEN,  Pfte.  Son.  op.  27,  No.  i,  second  movement' 
and  BEETHOVEN,  Bagatelle  op.  33,  No.  4. 

In  CHOPIN,  Mazurka  No.  36,  the  first  14  measures  of  the  "Da  capo"  are 
transposed  (a  half-step  lower). 

Alterations  of  the  design  of  the  Prin.  Song,  in  the  "  Da  capo," 
affect  the  genuineness  of  this  class  of  forms  more  seriously  than 
simple  variation  of  detail,  because  they  are  of  a  more  essential 
nature.  The  most  natural,  justifiable  and  common  practice,  is  to 
abbreviate  the  "Da  capo"  ; — especially  by  reducing  the  recurrence 
of  the  3-Part  (or  2-Part)  Song-form,  to  its  First  Part  alone.  Such 
a  contracted  "Da  capo"  may,  subsequently,  be  extended,  or 
otherwise  modified.  See  N.  B.  above. 

See  BEETHOVEN,  Bagatelle  op.  33,  No.  2. — Also,  Symphony  No.  5, 
Scherzo. 


Par.  121.  THE    CODA.  2IJ 

CHOPIN,  Mazurkas  17  and  31  ;  Mazurka  25  (Prin.  Song,  broad  2-Part 
form,  with  complete  repetition;  "Da  capo"  abbreviated  to  First  Part,  slightly 
expanded).  Polonaise  No.  4;  Polonaise  No.  6  (Prin.  Song,  3-Part  form,  broad 
First  Part;  "  Trio,"  2-Part  form,  Part  I  repeated,  Part  II  dissolved  into  elabo- 
rate Re-transition;  "  Da  capo  "  contracted  to  one-half  of  Part  I).  Impromptu 
in  (Tp-major,  op.  51,  ("Da  capo"  abbreviated,  and  modified  by  extension); 
the  same  in  Nocturnes  3  and  14,  Prelude,  op.  28,  No.  15,  and  Mazurka  38. 

BRAHMS,  op.  116,  No.  6;  op.  118,  No.  4.  ("Da  capo"  abbreviated  and 
modified.) 

An  extension  of  the  "  Da  capo  "  takes  place  in  : 
CHOPIN,  Mazurkas  32  and  36;  and  BRAHMS,  op.  116,  No.  7. 

THK  CODA. 

121.  The  addition  of  a  CODA  to  the  entire  Compound  form 
is  not  only  possible,  but  desirable  and  necessary,  apparently  in 
proportion  to  the  importance  attached  to  the  "Da  capo,"  and  the 
extent  of  its  elaboration.  Hence,  while  a  Coda  very  rarely  follows 
the  simple  forms  of  the  Song  with  "Trio"  as  employed  in  older 
Dances  (with  literal  D.  C.),  it  is  rarely,  if  ever,  absent  after  a  "  Da 
capo"  that  has  been  modified,  and  often  it  is  quite  extensive  and 
self-assertive.  See  par.  g8a. 

The  Coda  may  be  derived  from  any  anterior  motive  or  member  | 
or  it  may  (rarely)  introduce  new  motives.  And  it  may  conform  in 
style  and  melodic  contents  either  to  the  Prin.  Song  or  the  Subord. 
Song  (chiefly  the  former)  ;  or,  possibly,  to  both  in  turn.  See  : 

BEETHOVEN,  Pfte.  Sonatas,  op.  2,  No.  i  ;  op.  2,  No.  2;  op.  7,  etc.,  third 
movement  of  each, — no  Coda. 

BEETHOVEN,  Pfte.  Son.  op.  2,  No.  3,  Scherzo  (Coda  derived  from  Prin. 
Song);  Pfte.  Son.  op.  14,  No.  i,  Allegretto  (Coda  taken  from  Subord.  Song, 
"  Maggiore  ") ;  Pfte.  Son.  op.  26,  third  movement  ("Funeral  march  "),  last 
7  measures;  Pfte.  Son.  op.  27,  No.  i,  second  movement,  last  12  measures 
(Coda  simply  an  extension  of  the  "Da  capo"). — CHOPIN,  Mazurka  No.  32 
(elaborate  Coda);  No.  38  (Coda  from  Part  II  of  Subord.  Song). — SCHUBERT, 
Impromptu,  op.  90,  No.  2  (Coda  from  "Trio");  MENDELSSOHN,  Symphony 
No.  4("  Italian,"  op.  90),  third  movement, — Coda  utilizes  ingeniously  a  motive 
of  the  "Trio." — BRAHMS,  op.  116,  No.  6,  last  7  measures  (from  Subord. 
Song);  op.  118,  No.  4,  last  23  measures;  op.  119,  No.  2,  last  5  measures  (from. 
Subord.  Song). 

MISCELLANEOUS    EXAMPLES    OF    THE    SONG-FORM    WITH    ONE    "TRIO." 

SCHUBERT,  Pfte.  Sonatas,  Nos.  1,2,  4,  6,  8,  9,  10, — third  movement  of  each. 
•—Impromptu,  op.  142,  No.  2. 


2l8  THE    CODA.  Par.  1^3. 

MOZART,  Symphonies  (Litolff  ed.),  Nos.  2,  3,  4,  5,  6,  n,  12,  13.  third 
movement  of  each. 

BRAHMS,  Pfte.  Son.  op.  i.  Scherzo  ;  Pfte.  Son.  op.  2,  Scherzo  ;  Pfte.  Son. 
op.  5,  Scherzo  ;  Pfte.  Balladen,  op.  10,  No.  i  j  Intermezzo,  op.  76,  No.  7  (Prin. 
Song,  One-Part  form) ;  Symphony  No.  3,  third  movement. 

The  String-quartets  of  HAYDN,  MOZART,  BEETHOVEN  and  other  classic 
writers,  Menuetto  or  Scherzo  (as  a  rule,  the  third  movement  of  each). 

1  22.  A  confusing  trait  of  resemblance  between  the  Song 
with  one  "Trio"  and  the  simple  5-Part  Song-form,  is  exhibited 
in  certain  diminutive  examples  of  the  former,  where  the  Subord. 
Song  is  only  One-Part  form,  and  the  "  Da  capo  "  abbreviated. 

This  is  seen  in  CHOPIN,  Mazurka  13  (Prin.  Song  3-Part  form ;  Subord. 
Song  only  one  Part,  but  very  distinct  in  character  and  mode;  "Da  capo" 
contracted  to  one  of  the  original  three  Parts).  Precisely  the  same  conditions 
prevail  in  GRIEG,  Lyric  Pieces,  op.  12,  No.  3. — These  are  both  examples  of  the 
5-Part  Song-form,  stage  5,  cited  in  par.  io6e;  but  they  are  extreme  specimens, 
owing  to  the  unusual  independence  and  diversity  of  the  Fourth  Part, — which, 
for  this  reason,  assumes  the  rank  and  characteristics  of  a  "  Trio."  Were  the 
"Da  capo"  not  reduced  to  one  Part,  the  identity  of  such  a  Subord.  Song 
would  be  beyond  question. 

In  CHOPIN,  Mazurka  42,  again  only  five  Parts  are  represented, — the  Prin. 
Song  being  in  tivo  Parts,  and  the  Subord.  Song  in  one  ;  but  here  the  "  Da 
capo  "  is  not  abbreviated  (save  by  omission  of  repetitions). 


EXERCISE  35. 

A.  An  example  of  the  Song-form  with  one  "Trio,"  in  major;  both  Songs 
in  3-Part  form ;  "  Da  capo  "  literal ;  no  Transition  or  Re-transition. — Apply 
par.  136. 


B.     An  example  of  the  same  form,  in  minor;  design  of  Songs  optional; 
"Da  capo''  literal. — Apply  par.  134,  or  par.  135. 


C.     Same  form;  design  of  Songs  optional;  Re-transition;   "Da  capo" 
unessentially  modified. — Apply  par.  136. 


D.     Same  form;  "Da  capo"  abbreviated;  Coda. — Apply  par.  135.     See 
par.  137. 


Par.124.  THE    SONG-FORM    WITH    TWO    "TRIOS."  219 


CHAPTER  XIX. 
EXTENSIONS  OF  THE  "SONG  WITH  TRIO." 

1  23.  The  simplest  method  of  extension  is,  here  again,  that 
of  Repetition.  It  is  applied,  not  infrequently,  to  the  Subord. 
Song  and  the  "  Da  capo  "  together,  precisely  as  in  the  3-Part 
Song-form  with  repeated  Second  and  Third  Parts.  See  par.  1050. 

The  repetition  may  be  exact  or  modified, — generally  the 
former,  though  it  is  natural  to  abbreviate  the  last  "Da  capo," — 
more  rarely  the  first  one.  A  Coda  may  folio w. 

See  BEETHOVEN,  Symphony  No.  4,  third  movement  (Prin.  Song — 
"  Minuetto  " — 3-Part  form  with  all  repetitions,  and  Codetta;  "  Trio  "  3-Part 
form;  Re-transition;  ist  "Da  capo"  literal,  excepting  repetitions;  "Trio" 
again,  exactly  as  before;  second  "  Da  capo"  contracted  to  Third  Part;  Coda 
of  3  measures). — In  BEETHOVEN,  Symphony  No.  7,  third  movement,  the  same 
repetition  occurs,  in  the  original  score ;  a  Coda  is  added,  reverting  very  briefly 
to  the  motive  of  the  Subord.  Song.  (In  some  modern  editions,  and  modern 
performances,  this  extensive  repetition  is  omitted.) — BEETHOVEN,  Bagatelle 
op.  33,  No.  7,  (both  "  Songs"  in  concise  2-Part  form,  with  repetitions;  both 
"Da  capos"  complete,  but  variated ;  Coda). — BEETHOVEN,  Pfte.  Son.  op.  54, 
first  movement  (the  Subord.  Song  is  at  first  an  extended  Period,  with  transposed 
and  enlarged  reproduction,  and  Re-transition;  when  it  recurs,  after  the  first 
"  Da  capo,"  it  is  abbreviated  to  the  length  of  a  simple  Period;  the  two  "Da 
capos  "  are  variated,  in  progressive  degrees;  Coda). 

In  HAYDN,  Pfte.  Son.  No.  7  (Cotta  ed.),  Finale,  the  Subord.  Song  and 
"Da  capo"  are  repeated  with  considerable,  but  probably  unessential,  modifi- 
cation (Prin.  Song,  2-Part  form;  Subord.  Song,  3-Part;  no  Coda).  Pfte. 
Son.  No.  8,  Scherzando  (very  similar;  brief  Coda).  Pfte.  Son.  No.  12,  first 
movement,  the  same. 

In  SCHUMANN,  Symphony  No.  4  (rf-minor,  op.  120),  Scherzo,  the  "Trio" 
recurs,  similarly,  after  the  "  Da  capo,"  but  is  linked  with  the  Transition  which 
leads  into  the  Finale  ;  in  other  words,  the  second  "  Da  capo  "  is  omitted. 

THE  SONG-FORM  WITH  Two  "  TRIOS." 

1  24.  When  such  an  enlargement  of  the  form  is  contem- 
plated, it  is,  however,  much  better  and  more  customary  to  avoid 
the  monotony  attendant  upon  so  extensive  a  repetition,  by  invent- 
ing a  new  (second)  '•'•Trio,'"  instead  of  the  recurrence  of  the  first 
one.  This  design  corresponds  to  that  of  the  fully  developed 
5-Part  Song-form  (par.  io6e),of  which  it  is  a  broader  exposition. 
Compare  par.  117,  second  clause. 


220  THE    GROUP    OF    SOXG-KOHMS.  Par.  125. 

The  two  ''Trios''  should  stand  in  quite  murked  contrast  with 
each  other;  one  of  them  generally  maintaining  closer  agreement, 
in  character  and  style,  with  the  Prin.  Song,  while  the  other 
diverges  more  emphatically.  Consequently,  it  is  not  unusual  for 
the  Subord.  Songs  to  differ  from  each  other  in  T'ime,  as  \vell  as  in 
tempo  and  key ;  though  this  is  more  commonly  the  case  in  modern 
examples. 

After  each  Subord.  Song,  the  Prin.  Song  recurs,  as  "  Da 
capo,*'  sometimes  literally  (excepting  the  repetitions),  but  more 
frequently  abbreviated,  or  otherwise  modified.  A  Coda  may  be 
added. 

See  JOHAXN  LUDWIG  KREBS,  Partita  II,  "Menucts"  (three,  numbered 
I,  II,  III, — No.  I  recurring  as  "Da  capo"  after  each  of  the  others).  [To  be 
found  in  "  L,es  Maitres  du  clavecin"  (Litolff  ed.),  Vol.  I,  p.  73.] 

MOZART,  Symphony  No.  8  (Litolff  ed.),  fourth  movement, — Menuetto 
with  two  "Trios"  (not  to  be  confounded  with  the  second  movement  of  the 
Symphony). 

MENDELSSOHN,  Wedding-March  from  music  to  "  Midsummer-Night's 
Dream." 

SCHUMANN,  Symphony  No.  I,  Scherzo  (Prin.  Song  3-Part  form  ;  "Trio  I  " 
very  divergent  in  character,  time,  and  tempo;  broad  form,  with  modified 
repetitions;  first  "Da  capo"  without  repetitions ;  "Trio  II"  resembles  Prin. 
Song;  3-Part  form,  with  Codetta  from  Second  Part;  second  "Da  capo" 
abbreviated;  Coda  contains  reminiscences  of  "  Trio  I"). — Symphony  No.  2, 
Scherzo. — Pfte.  Quintet,  op.  44,  Scherzo. — Pfte.  Quartet,  op.  47,  Scherzo.—- 
Pfte.  Trio,  No.  3,  op.  no,  third  movement. 

BRAHMS,  Pfte.  Scherzo,  op.  4. — Symphony  No.  2,  third  movement  (Prin. 
Song  \  time,  Allegretto,  3-Part  form;  First  Subord.  Song,  same  key,  f  time, 
Presto,  3-Part  form;  first  "Da  capo"  abbreviated  and  modified;  Second 
Subord.  Song,  \  time,  Presto  ;  second  "Da  capo"  complete,  but  transposed 
during  the  first  Part;  Coda).  In  this  unique  example,  the  two  "Trios" 
represent,  essentially,  two  similar  extreme  Variations  of  the  Prin.  Song: 

THE  GROUP  OF  SONG-FORMS. 

1  25.  The  process  of  group-formation,  beginning  with  the 
Phrase-group  (par.  57)  and  passing  on  through  the  Group  of 
Periods  (par.  59),  the  Large  Phrase-group  (par.  104)  and  the  Group 
of  Parts  (par.  114,  115),  culminates,  in  the  homophonic  forms,  in 
the  Group  of  entire  Song-forms.  It  is  distinguished  from  the 
regular  Compound  forms,  explained  above,  by  the  absence,  or 
irregular  disposition,  of  the  "Da  capo"  whereby  the  condition 
of  "Return,  after  Departure,"  is  not  fully  or  correctly  satisfied 
(par.  8 1 a).  See  par.  6pc. 


Par.  125.  THE    GROUP    OF    SONG-FORMS.  221 

See  BEETHOVEN,  Pfte.  Son.  op.  106,  Scherzo  (First, — or  Principal,— Song, 
2  Parts,  each  repeated;  Second  Song,  ditto;  Third  Song,  change  of  time  and 
tempo,  3  Parts;  Fourth  Song  like  First,  variated ;  Coda.  The  form  is  quasi 
"Song  with  tr.'o  Trios  in  succession"). 

CHOPIN,  Polonaise  No.  V,  the  same;  (the  Third  Song, — or  2nd  ''Trio,'' — • 
is  in  Two-Part  form,  very  broad,  and  with  complete  transposed  reproduction). 

BRAHMS,  Pfte.  Ballade  op.  10,  No.  2,  the  same  design.  Rhapsody,  op.  119, 
No.  4,  (design  :  Prin.  Song—"  Trio  I  "— "  Trio  II  "— "  Trio  I  "— Prin.  Song, 
Coda).  Pfte.  Ballade  op.  10,  No.  4,  (design:  Prin.  Song— "Trio  I" — Prin. 
Song — "Trio  II" — Coda,  consisting  in  a  portion  of  the  First  Subord.  Song, 
interwoven  with  the  first  motive  of  the  Prin.  Song.  The  final  "Da  capo"  is 
omitted). 

SCHUMANN,  Nachtstucke^  op.  23,  No.  2,  (design:  Prin.  Song — "Trio  I'' 
7-Part  form — Re-transition — Prin.  Song,  abbreviated — "  Trio  II " — "  Trio  I " — 
Prin.  Song). — Symphony  No.  3  Sc/ierzo,  (design:  Prin.  Song — Song  II — - 
Song  III — Song  IV,  transposition  of  Prin.  Song — Song  V — Song  VI,  "Da 
capo"  of  Prin.  Song — Coda). 

CHOPIN,  Waltz  No.  i  (Group  of  5  Songs,  V  like  I). 

These  represent  the  last  degree  of  enlargement,  the  broadest 
proportions  attainable  within  the  sphere  of  the  Homophonic 
Forms. 

EXERCISE  36. 

A.  An  example  of  the  Song  with  two  "  Trios,"  in  major,  first  "  Da  capo  " 
abbreviated. — Apply  par.  133  {Scherzo). 


B.     The  same,  in  minor.     Apply  par.  136. 


222  CONVENTIONAL  STYLES  OF  COMPOSITION.  Par. 


DIVISION    FOUR. 

CONVENTIONAL  STYLES  OF  COMPOSITION. 


1  26.  An  extremely  large  proportion  of  all  music  written, 
belongs  to  the  Homophonic  domain  of  composition.  The  entire 
range  of  musical  products  within  this  domain  may  be  approxi- 
mately divided  into  three  general  classes  or  styles  of  composition, 
distinguished  by  the  respective  predominance  of  one  of  the  three 
essential  factors  of  the  art  :  Melody,  Harmony  and  Rhythm. 
(Carefully  review  par.  97,  recollecting,  however,  that  the  distinc- 
tions there  defined  constitute  a  different  classification  from  the  one 
under  present  consideration.) 

(a.)  The  first,  or  LYRIC,  class,  in  which  the  element  of 
MELODY  predominates,  is  characterized  chiefly  by  the  Song  (with 
or  without  words),  and  embraces  also  the  Air  or  Aria,  Lied, 
Canzone,  Cavatina,  Idyll,  Barcarolle  or  Gondellied,  Romania, 
Reverie,  Nocturne,  Serenade,  "Melody,"  Chanson,  Lyric  Piece, 
Ballade,  Elegy,  Berceuse  or  Cradle-song,  Pastorale, — and  many 
other  compositions  of  similar  character  but  with  more  or  less 
arbitrary  and  specific  titles.  All  of  these  may  be  either  vocal  or 
instrumental  in  conception  and  setting.  To  this  class  belong  also 
the  sacred  Hymn,  Psalm-tune,  Chorale,  Chant,  the  simpler  church 
Anthems,  the  secular  Terzetto,  Quartet,  Chorus,  Glee,  Madrigal, 
etc.,  all  of  vocal  conception. 

(b)  The  second,  or  ETUDE-,  class,  in  which  the  most  promi- 
nent element  is  that  of  the  HARMONY,  is  characterized  chiefly  by 
the  Etude,  and  includes  also  the  various  kinds  of  Studies  and 
Exercises  ;  the  Toccata  ;  certain  varieties  of  the  Prelude  ;  generally 
also  the  Caprice  or  Capriccio,  Scherzo,  Scherzando,  Impromptu, 
Intermezzo, — though  the  character  of  these  latter  is  indefinite  and 
variable.  The  compositions  of  this  class  are  almost  invariably 
instrumental  in  conception  and  setting. 


Par.  127.  CONVENTIONAL    STYLES    OF    COMPOSITION.  22$ 

(c)  The  third,  or  DANCE-,  class,  distinguished  by  the  prev- 
alence of  the  element  of  RHYTHM,  embraces  all  Dances,  old  and 
modern,  and  the  March.  Conspicuous  among  these  are  the  Min- 
uet, Gavotte,  Courante,  Sarabande,  Gigue  or  Jig,  Waltz,  Polka, 
Galop,  Mazurka,  Tarantella,  Saltarello,  Siciliano,  Landler,  Bolero, 
Quadrilles,  Polonaise,  Marches  of  varied  character  (Wedding-M., 
Funeral-M.,  Festival-M.,  etc.),  and  many  other  species  of  a  more 
or  less  kindred  nature.  This  class  of  compositions  is  very  gener- 
ally, though  not  always,  instrumental  in  conception  and  setting. 

(d)  It  must  be  remembered  that  this  is  only  an  approximate  classification, 
and  that,  while  some  of  the  conventional  styles  enumerated  have  become 
distinctly  typical,  others  again  are  so  indefinite  and  arbitrary  as  to  defy  exact 
classification.  Hence,  it  is  often  impracticable  and  unwise  to  apply  these 
class-distinctions  rigorously.  It  is  perfectly  just  to  impart  a  conspicuously 
melodic  character  to  a  Dance-form,  as  long  as  the  rhythmic  element  maintains 
its  preeminence;  or  to  an  Etude, — though,  in  the  latter  case,  it  would  transfer 
the  composition  to  the  lyric  class,  and  the  reasons  for  calling  it  an  "  litude" 
would  have  to  be  sought  in  other,  technical,  peculiarities  of  the  piece.  This 
accounts  for  the  apparently  careless  or  erroneous  choice  of  title  in  certain 
examples;  many  a  Nocturne  or  Waltz,  so-called,  belongs  properly  to  the 
£tude-class, — and  rice  versa. 

As  a  rule,  however,  the  student  should  exercise  judgment  in  naming 
his  compositions.  It  is  best  never  to  use  descriptive  titles  (almost  utterly 
senseless  when  applied  to  music — e.g.  "Among  the  roses," — "Shower  of 
pearls,"  etc.),  but  only  such  conventional  titles  as  the  above,  which  indicate 
the  general  or  typical  musical  characteristics  of  the  piece.  A  very  important 
lesson  is  conveyed  to  the  young  composer  by  BRAHMS,  in  his  almost  exclusive 
use  of  the  terms  Capriccio,  Intermezzo,  Fantasie,  for  his  pianoforte-pieces; 
and  in  the  choice  of  the  simple  tempo  designations:  "Allegretto,"  "Andante," 
etc.,  adopted  as  sole  title  by  many  serious  composers. 


127.  A  description  of  each  of  these  conventional  species 
of  composition  may  be  found  in  standard  dictionaries  of  music, 
and  in  such  books  as  the  "Musical  Forms"  by  E.  PAUER.  All 
that  need  be  added,  here,  is  a  purely  technical  definition  of  such 
structural  traits  as  concern  the  present  student,  who  is  expected 
to  write  an  example  of  each,  or  at  least  of  the  most  important,  of 
the  typical  varieties  noted. 


224 


THE    SONG,    WITH    WORDS. 


Par.  128b. 


CHAPTER.   XX. 

THE    LYRIC    CLASS. 

i.    THE  SONG,  WITH  WORDS. 

1  28a.  As  concerns  the  first,  and  apparently  difficult,  consid- 
eration of  choosing  the  TEXT  for  a  Song,  the  student  will  find  the 
richest  and  most  trustworthy  fund  of  suitable  words  in  the  volumes 
of  Songs  already  written  and  published.  From  these  he  can 
choose,  studiously  ignoring  the  musical  setting  before  him.  Or  he 
may  take  a  Psalm,  or  some  other  Bible  passage ;  or  may  adopt 
a  poem  from  books  of  standard  poetry,  though  this  is  the  least 
advisable  course  for  the  beginner  to  pursue. 

The  text  should  first  be  thoroughly  memorized,  and  mentally 
repeated,  until  it  begins  to  suggest  consistent  musical  setting.  This 
will  facilitate  the  choice  of  general  characteristics,  i.  e.,  between 
duple  and  triple  Time,  major  and  minor  mode,  brisk  or  deliberate 
tempo,  bold  or  graceful  style. 

(b)  In  the  SETTING,  the  rhythmic  distinctions  of  the  musical 
meter  must  coincide  quite  accurately  with  the  prosody  of  the  text. 
Important  words  and  accented  syllables  should  be  placed  against 
the  accented,  or  higher,  or  longer,  tones ;  and  lower,  shorter  or 
unaccented  tones  should  accompany  unemphatic  words  and  syl- 
lables. 

This  important  rule  operates,  however,  mainly  by  comparison :  an  un- 
accented word  or  syllable  may  be  set  to  an  accented  tone,  if  the  accent  is 
subordinate  ;  or  to  a  higher  tone,  if  it  occupies  a  light  beat.  For  illustration  : 

*1)  *2)  *3) 

r~Q-£— 1 • 1— < 1 IT 1 

1O1 


'  Ool    -    den    vis-  ions"      "Ool  -  den     vis  -ions     of....     the     past," 


"of the     past." 


'dawn 


-    ing. 


Par.  128e.  THE    SONG,    WITH    WORDS.  22$ 

*i)  Good,  because  the  accent  at  c  is  subordinate  to  that  at  g,  and  at  the 
following  b. — *2)  Doubtful,  because  of  the  emphasis  attached  to  a  compara- 
tively very  high  tone. — *3)  Better,  because  the  high  tone  is  unaccented. — 
*4)  Eccentric. — *5)  Objectionable. — *6)  Better. — *7)  Such  an  accent  as  this, 
upon  a  light  final  syllable,  is  permissible  at  any  cadence. 

Furthermore,  this  rule  must  always  be  applied  with  sufficient  latitude  to 
ensure  perfectly  unconstrained  melodious  conduct  of  the  vocal  part.  The 
words  are  to  be  regarded  and  treated,  constantly,  as  the  subordinate  element 
of  a  Song. 

(c)    In  writing  for  the  human  voice,  it  is  necessary  to  regard 
the  average  compass  of  the  part  in  question  : 

.  *  *£> 


BASS.  *    /•*•"!          TENOR. 


1O2. 


I 


ALTO.  SOPKANO.  .    (\>m\ 

/-in  ^m       •*• 


The  range  of  Baritone  is  between  Bass  and  Tenor ;  that  of 
Mezzo-Soprano,  between  Alto  and  Soprano. 

Care  must  be  taken  to  avoid  maintaining,  persistently,  either 
a  comparatively  high,  or  low,  range  of  the  chosen  voice.  This 
consideration  will  influence  the  choice  of  key. 

(d)  The  student  should  endeavor  to  reflect  the  character  of  the 
text  in  the  mood  of  the  music.     He  must  determine  the  dynamic 
and  declamatory  design,  according  to  the  dramatic  undulations  of 
the  text ;    but  must  avoid  exaggerated  minuteness  in  this  respect. 
The  effort  to  "illustrate"   each   single  suggestive   word  leads  to 
unevenness  of  structure,  and  hampers  the  essentially  musical  con- 
ception.    This  is  the  gravest  error  that  can  attach  itself  to  a  vocal 
composition  ;  for  a  Song  must  be  first,  and  always,  good,  melodious, 
and  self -sufficient  music. 

(e)  In   the   NOTATION   of  the    vocal    part,    the   notes    which 
accompany  separate  words  or  syllables  must  be  detached ;  two  or 
more  notes  to  the  same  word  or  syllable  must  be  connected,  either 
by  beams,  ties,  or  slurs  : 


226 


THE    SONG,    WITH    WORDS. 


Par.  128f. 
BRAHMS. 


"Shroud-ed       in    sad  -  ness,"     "all is      dark." 


B 


"Fit    ~  ful        sun    -    beams," 

(f)  The  FORM  of  the  Song  will  depend  largely  upon  that  of 
the  text,  which  may  demand  almost  any  of  the  forms  explained 
in  chapters  VI  to  XVII  of  this  book,  from  the  large  (or  repeated) 
Period,  up  to  the  3-  or  5-Part  form,  or  Group  of  Parts.  But 
preference  should  be  given  to  the  Two-  and  Three- Part  Song- 
forms,  and  an  effort  be  made  to  adapt  the  text  to  such  a  design, 
before  commencing  the  composition. 

When  the  text  is  divided  (or  divisible)  into  stanzas,  the 
composition  may  be  strophic,  i.e.,  music  may  be  set  to  the  first 
stanza  only,  and  simply  reproduced,  with  more  or  less  essential 
change,  for  the  following  ones.  See  : 

SCHUBERT,  "  Miiller-Lieder  "  (op.  25),  Nos.  i,  7.  8,  9,  10,  13,  etc. 

BEETHOVEN,  "An  die  feme  Geliebte "  (op.  98),  sections  a,  6,  c,  d,  <?; 
(section  f  is  in  3-Part  form ;  the  final  section  is  a  Coda,  compounded  out  of 
the  first  section).  This  cycle  of  Songs  ranks  among  the  most  beautiful  and 
impressive  in  all  musical  literature.  The  student  is  to  examine  it  thought- 
fully. Its  design  is,  of  course,  the  Group  of  Song-forms  (par.  125). 

SCHUMANN,  "  Liederkreis"  (op.  24),  Nos.  4,  7. 

Or  the  composition  maybe  progressive,  i.e.,  the  words  may 
be  set  to  music  consecutively,  throughout, — with,  probably,  a  da 
capo  at  the  end,  as  in  some  of  the  Group-forms.  In  this  case,  the 
3-Part  or  5>Part  Song,  or  the  Group  of  Parts, — possibly  Song  with 
"Trio," — may  be  chosen  as  structural  design.  See  : 

SCHUBERT,  "  Miiller-Lieder,"  No.  2, — Song  with  "Trio";  (Prin.  Song, 
3-Part  Period;  Subord.  Song,  3-Part  Song-form;  "Da  capo,"  a  compound 
of  both  foregoing  Songs;  Coda).  No.  3,— Group  of  four  Parts;  (I,  a  Period; 
II,  a  Phrase,  repeated ;  III,  an  extended  Phrase;  IV,  two  repeated  Phrases). 
No.  4, — quasi  3  strophes.  No.  5, — Song  with  "  Trio." 

SCHUMANN,  "Liederkreis"  (op.  24),  Nos.  i,  2  (almost  strophic),  No.  3 
(Three-Part  form),  No.  5  (Five-Part  form);  "The  two  Grenadiers,"  op.  49, 
No.  i  (partly  strophic). 


Par.  l-28g.  THE    SONG,     WITH    WORDS.  22^ 

(g)  The  primary  objects  of  the  instrumental  ACCOMPANIMENT 
to  a  Song  are,  first,  to  support,  and  secondly,  to  complement,  the 
vocal  part.  It  should  not  disturb  or  overpower  the  latter,  and 
therefore  the  danger  of  too  much  accompaniment  must  be  recognized 
and  avoided. 

The  simple  rhythmic  enunciation  of  the  chords,  as  in  SCHUBERT, 
"  Haidenroslein "  (op.  3,  No.  3)  is  antiquated,  but  often  very  appropriate. 
The  method  adopted  by  SCHUMANN  in  the  "  Lotosblume  "  (op.  25,  No.  7),  in 
which  the  vocal  melody  is  from  time  to  time  reinforced  by  the  pianoforte,  is 
more  artistic. 

But  the  student  must  guard  against  the  impression  that  the  vocal  part 
should  be  duplicated  throughout  in  the  accompaniment  (as  in  SCHUMANN, 
op.  25,  Nos.  i,  2,  9,  etc.).  This  tends  to  obscure,  more  than  to  support,  the 
vocal  part;  and,  while  it  is  often  necessary,  it  is  better,  as  a  rule,  for  the 
accompaniment  to  limit  itself  to  general  harmonic  figuration, — which  is  at 
once  less  obtrusive,  and  more  individualized.  See  SCHUMANN,  op.  25,  Nos.  3, 
n,  25.  SCHUBERT,  "  Miiller-Lieder  "  (op.  25),  Nos.  i,  2,  3,  4,  5,  9,  n,  etc. — 
A  duplication  of  the  vocal  melody,  as  found  in  SCHUBERT,  "Winterreise" 
(op.  89),  No.  15;  or  in  SCHUMANN,  op.  25,  No.  10;  and  op.  27,  No.  4, — is  very 
effective. 

But  it  is  permissible,  and  common,  to  assign  to  the  instru- 
mental accompaniment  the  task  of  reflecting  and  emphasizing  the 
poetic,  epic,  or  dramatic  contents  of  the  text ;  and,  in  so  doing,  it 
will  become  more  or  less  characteristic,  and  assume  a  degree  of 
independence,  which,  at  times,  may  even  exceed  that  of  the  vocal 
part  itself. 

See  SCHUBERT,  "Miiller-Lieder"  No.  3  (Bass  part),  No.  12;  "Winter- 
reise," Nos.  2,  4,  9,  17.  SCHUMANN,  op.  24,  No.  6;  op.  27,  No.  3;  op.  30, 
No.  i;  "  Lowenbraut,"  op.  31,  No.  i;  "  Frauenliebe  und  -leben,"  op.  42, 
No.  6;  "  Dichterliebe,"  op.  48,  Nos.  4,  6,  9,  13,  16. 

This  will  give  rise  most  naturally  to  the  prelude,  interludes 
and  postlude  in  the  accompaniment  (during  the  pauses  of  the 
vocal  part)  ;  though  the  necessity  of  occasional  interludes, — not  too 
frequent  or  long, — both  for  the  relief  of  the  singer  and  the  benefit 
of  the  structural  design,  is  sufficiently  imperative,  in  itself. 

See  SCHUBERT,  "Winterreise,"  Nos.  2,  6,  14,  19,  24  (especially). 

SCHUMANN,  op.  25,  No.  3;  op.  24,  Nos.  5,  6  (elaborate  postludes).  "Dich- 
terliebe," Nos.  5,  6,  9,  10,  n,  12,  15,  16  (elaborate  postludes). 

Additional  examples  for  reference  and  study  : 

Other  Songs  of  SCHUBERT,  BEETHOVEN  and  SCHUMANN,  not  referred  to 
above. 

The  Songs  of  MENDELSSOHN,  BRAHMS,  ROBERT  FRANZ;  RUBINSTEIN, 
GRIEG,  JENSEN,  TAUBERT;  Song-albums  (Schirmer  ed.). 


228  THE    SONG    WITHOUT    WORDS,    ETC.  Par.  130a. 

2.     TlIE    INSTRUMENTAL    Duo. 

1  29.    The   instruments   most  frequently  chosen  for  the   duo 
are  the  Pianoforte  and  Violin,   or  Pfte.   and  Violoncello. 

The  rules  for  the  conception  and  treatment  of  this  style  of 
music  conform  in  general  to  those  of  the  Song  (excepting  those 
bearing  upon  the  text),  but  with  such  additional  liberty,  or 
modifications,  as  are  conditioned  by 

The  wider  compass, 

greater  technical  facilities  and  resources,  and 

specific  peculiarities  of  the  "  solo  "-instrument. 

The  absence  of  words  leaves  the  composer  without  a  certain 
quality  of  melodic  stimulus  and  suggestion,  but,  at  the  same  time, 
at  liberty  to  develop  his  musical  conception  and  purpose  without 
embarrassment.  Some  theoretical  guides  to  his  natural  musical 
impulses  are  recorded  in  par.  94,  95,  96,  97,  which  are  to  be 
reviewed.  See  also  par.  137. 

The  student,  if  unfamiliar  with  the  Violin  and  Violoncello, 
should  not  undertake  to  write  for  them  until  he  has  consulted  some 
expert  performer,  and  obtained  from  him  sufficient  information 
concerning  the  tone,  specific  tone-effects,  compass,  and  the  various 
technical  characteristics  of  the  instrument.  The  same  law  applies 
to  the  use  of  the  Flute,  Clarinet,  Cornet,  Horn,  etc. 

The  species  of  composition  for  the  instrumental  duo  is  to  be 
selected  from  the  list  given  in  the  next  paragraph  (or  par.  126  a). 

Examples  for  reference  :  * 

Violin  and  Pianoforte :  RAFF,  Cavatine. — SVENDSEN,  Romance,  op.  26.— 
H.  WIENIAWSKI,  Legende,  op.  17. — F.  RIES,  Romance  from  Suite  II; 
Gondoliera  from  Suite  III. — MAX  BRUCH,  Swedish  Dances,  op.  63  (essentially 
lyric);  Romanze. — JADASSOHN,  Serenade  op.  io8£,  Nos.  i,  2,  3,  4. — SPOHR, 
Barcarolle.  — BAZZINI,  Iilegie. —  JOACHIM,  Romanza.  —  DVORAK,  Notturno, 
op.  40. — ERNST,  Elegie. — VIEUXTEMPS,  Reverie. 

Violoncello  and  Pianoforte:  MENDELSSOHN,  Song  without  Words  for 
' Cello  (Z?-major,  op.  109). — DVORAK,  "  Waldesruhe." — POPPER,  op.  3,  Nos.  2, 
6;  Nocturne,  op.  22. — GOLTERMANN,  Cantilena  in  E. — H.  SITT,  Romanza  and 
Serenata. — DAVIDOFF,  Romance  sans  paroles,  op.  23;  Lied,  op.  16,  No.  2. 

3.    THE  SONG  WITHOUT  WORDS,  ETC. 

1  3Oa.  The  conception  of  this  class  of  instrumental  com- 
positions, most  commonly  set  for  the  Pianoforte,  or  as  duo 

*See  Preface,  section  II. 


Par.  131a.  THE    HYMN,     ANTHEM,    GLEE,    ETC.  229 

(par.  129),  is  invariably  the  same  as  that  of  the  vocal  Song,  viz.: 
a  continuous,  coherent,  tuneful  melodic  thread, — cantilena, — as 
distinctly  predominating  element ;  with  a  more  or  less  character- 
istic and  elaborate  equipment  in  the  accompanying  parts.  Each 
specific  variety  of  conventional  style  embraced  under  this  heading, 
— Romanza,  Nocturne,  Barcarolle,  etc.  (par.  1260), — will  call 
forth  its  own  peculiar  modifications,  in  the  execution  of  this  aim ; 
but  the  ruling  principle  is  identical  in  them  all.  These  modifica- 
tions, dictated  by  the  special  character  and  purpose  of  the  chosen 
variety,  may  be  inferred  from  the  self-explaining  titles,  and  need 
no  exposition  here.  See  GROVE'S  dictionary,  or  BAKER'S  "Dic- 
tionary of  Musical  Terms."  Any  form  may  be  employed,  from 
2-Part  Song  up  to  Song  with  one  "Trio."  See  par.  137. 
Examples,  from  pianoforte  literature,  for  reference  : 

CHOPIN,  Nocturnes  (especially  Nos.  i,  2,  4,  5,  7,  8,  n,  13,  15,  16,  17,  18,  19). 
— FIELD,  Nocturnes  (Nos.  i,  2,  4,  5,  6,  7,  9,  10,  u,  13,  14,  16,  18). — MENDELS- 
SOHN, "  Songs  without  Words"  (especially  Nos.  I,  6,  7,  12,  18,  19,  22,  25,  29, 
30,  31,  36,  37,  40,  43,  46). — SCHUBERT,  Impromptu  op.  90,  No.  3;  Momens 
musicals,  op.  94,  No.  2. — BEETHOVEN,  Pfte.  Son.  op.  27,  No.  i,  Adagio  ;  op. 
27,  No.  2,  first  movement;  op.  79,  Andante;  op.  109,  third  movement,  Theme; 
op.  no,  third  movement,  Arioso  dolente. — SCHUMANN,  "  Kinderscenen  "  (op. 
15),  Nos.  i,  4,  5,  7,  12;  "  Fantasiestiicke"  (op.  12),  Nos.  1,3;  Pfte.  Son.  op.  22, 
Andantino;  Romanzas  (op.  28),  Nos.  1,2;  op.  82,  No.  9. — W.  BARGIEL,  Elegie, 
op.  31,  No.  2. — DVORAK,  Silhouettes,  op.  8,  Nos.  6,  10,  n. — GADE,  Idyls,  op. 
34,  Nos.  2,  4. — GRIEG,  op.  12,  Nos.  i  and  7;  op.  38,  Nos.  i,  3,  6;  op.  43,  No.  6; 
op.  47,  Nos.  3,  7;  op.  54,  No.  4;.  op.  62,  No.  5. — LISZT,  3  Notturnos  ("  Liebes- 
traume  ") ;  Gondoliera  and  Canzone  from  "  Venezia  e  Napoli  "  ;  Consolations. 
• — MOSZKOWSKI,  op.  31,  No.  i;  op.  36,  No.  2. — RAFF,  2  Elegies,  op.  149. — 
RUBINSTEIN,  2  melodies,  op.  3;  Barcarolle,  op.  50,  No.  3  (^-minor) ;  also 
Barcarolles  in  <z-minor,y-minor,  and  (7-major. — PADEREWSKI,  Melodic,  op.  8. 
No.  3. — ST.-SAENS,  Chanson,  op.  72,  No.  5. — TSCHAIKOWSKY,  Chanson,  op.  40, 
No.  2.;  Romance,  op.  51,  No.  5. 

(b)  The  Ballade  belongs,  properly,  also  to  this  class,  but  its 
character  is  indefinite  and  variable.  It  is  usually  more  elaborate, 
longer,  and  more  dramatic  than  the  Romanza,  and  constructed 
in  Group-form.  It  implies  a  more  or  less  ideal  narrative. 

See  CHOPIN,  4  Ballades. — BRAHMS,  op.  10,  Nos.  i,  2,  4. — REINECKE, 
Ballade,  op.  20. 

4.    THE  HYMN,  ANTHEM,  GLEE,  ETC. 

1  3  1  a.  It  may  appear  that  these  species  of  composition, 
commonly  known  as  "  PART-SONGS,"  belong  to  the  second  class 
(par.  126$),  characterized  by  predominance  of  the  Harmony;  and, 


230  THE    HYMN,     ANTHEM,    GLEE,    ETC.  Par.  131  e. 

indeed,  this  fallacious  view  has  been  often  confirmed  by  writers  not 
sufficiently  scrupulous  in  regard  to  artistic  distinctions.  But  it  is 
nevertheless  strictly  true  that,  in  those  examples  of  the  "  Part- 
Song  "  which  fall  within  the  domain  of  the  homophonic  forms,  the 
lyric  element  must  prevail.  One  of  the  parts,  usually  the  Soprano, 
must  consist  in  a  distinctly  melodious,  coherent  and  continuous 
cantilena,  which  the  other  parts  chiefly  serve  to  accompany  and 
support. 

(b)  For   the    Sacred   Hymn,    Chorale,    Anthem,    etc.,    words 
may  be  chosen  from  a  church   hymn-book,   the  Psalms  and  other 
parts  of  the  Bible,  or  from  the  ritual  of  any  denominational  service. 
The  use  of  Latin  sentences  from   the  Roman   Catholic   liturgy  is 
strongly  commended. 

(c)  The   ensemble  most   commonly   adopted   for   the    setting, 
is  the  mixed  quartet  (Soprano,  Alto,  Tenor,  Bass)  ;  but  the  female 
trio    (more    rarely  female   quartet),   the   male   trio   or   quartet,   the 
mixed  trio,  and  the  duet  (the  association  of  any  two  voices),  are  all 
equally  practicable  and  often  very  effective.      In  any  case,  except- 
ing perhaps  the  duet,  the  "  parts  "  may  be  rendered  by  solo  singers, 
or  by  a  chorus ;  and  either  with  instrumental  accompaniment  (Pfte. 
or  Organ),  or  without — ("a  cappella  "). 

(d)  The    choice    of    secular,    instead    of    sacred,    text,    will 
influence   the    character   of    the    musical    conception,    but    none   of 
the    above    details.      The    dignity    and    seriousness    which    should 
distinguish  all  music  designed  for  religious  use  and  association,  is 
more    or    less    thoroughly   supplanted,    in    secular    music,    by   such 
brightness,  gaiety,  grace,  dramatic  fervor,   pathos  or  brilliancy,  as 
befits  the  character  of  the  words  selected. 

(e)  The  structural  design  will  depend  largely  upon  the  text. 
For  the   Hymn,  the   Double-period  form,   or   simple   2-Part  Song- 
form,   is  best.     For  the  Anthem,  or  the  secular  "Part-Song,"  the 
3-Part  form   should  be  used,   if    possible;   though  the   "Group   of 
Parts"  is  often  more  convenient,  and  affords  excellent  opportunity 
for  characteristic    and   interesting    formal    designs,    in   which,    for 
instance,  the  several  Parts  of  the  Group  may  be  differently  treated 
(as  solo,  duet,   quartet  or  chorus,  perhaps  in  different  varieties  of 
time,   tempo   and  character).     The  conditions  of  the   instrumental 


Par.  132.  THE    ETUDE,    OR    STUDY.  231 

accompaniment  are  similar  to  those  explained  in  connection  with 

the    "Song"    (par.  128,0-),   though,    as   a   rule,    less   elaborate  and 

independent.       For  more    specific    definitions,    see    GROVE'S    dic- 
tionary. 

See  also:  MENDELSSOHN,  female  Terzetto  from  Elijah;  Duet  from 
St.  Paul  (No.  31);  also  Chorales  (Nos.  3,  9,  16),  and  Choruses  (Nos.  26,33) 
from  St.  Paul. 

The  vocal  duets  of  MENDELSSOHN,  RUBINSTEIN,  SCHUMANN,  and 
BRAHMS. 

BRAHMS,  "  Ave  Maria";  i3th  Psalm;  Song  from  Ossian's  Fingal. 

Anthem-books  for  mixed  voices  (Schirmer  ed.). — Reference  may  also  be 
made  to  a  few  specimens  of  the  "  Part-Songs,"  sacred  and  secular,  for  various 
ensembles  of  male,  female,  or  mixed  voices,  contained  in  great  number  in  the 
8vo  collections  of  the  edition  of  G.  Schirmer;  and  similar  collections  of  other 
publishers. 


CHAPTER    XXI. 
THE    ETUDE-CLASS. 

*  ^ 

i.    THE  ETUDE,  OR  STUDY. 

1  32.  In  the  genuine  representatives  of  this  class  of  com- 
position, the  melodic  element  (as  sustained  cantilena},  though 
never  totally  absent,  is  so  vague,  imperfect  and  fragmentary,  or  so 
disguised  and  obscured,  as  to  recede  into  the  background,  while 
the  chords,  i.  e.,  the  Harmonies,  both  individually  and  collectively, 
stand  out  in  proportionately  greater  prominence. 

In  the  ETUDE  proper,  the  harmonies  are  not,  as  a  rule,  thus 
prominent  in  unbroken  bulk,  but  in  some  figurated  form  (as  shown 
in  Ex.  4  and  context).  For  this  figuration  of  the  harmony,  a 
motive  is  adopted  with  a  view  to  some  technical  purpose ;  hence 
the  titles  :  Etude,  Study,  or  Exercise.  But,  for  the  simple  reason 
that  the  aim  of  a  "study"  is  not  always  a  purely  technical  one, 
these  species  may,  without  inconsistency,  sometimes  assume  a  dis- 
tinctly lyric  character.  See  par.  126^?. 

The  design  of  the  Etude  is  usually  one  of  the  Song-forms, — 
possibly,  though  rarely,  with  "Trio." 

See  CHOPIN,  fitudes,  op.  10  (especially  Nos.  i,  2,  5,  7,  8,  10,  n,  12); 
Etudes,  op.  25  (especially  Nos.  2,  3,  4,  5,  6,  8,  9,  10,  n,  12).  Op.  10,  Nos.  3,  6, 
9,  and  op.  25  No.  7,  are  lyric. — AD.  HENSELT,  Etudes,  op.  5,  No.  i,  (both  lyric 
and  etude-class),  Nos.  2,  3,  7,  9,  12  (10  and  n,  lyric). — See  also  a  few  Etudes 


THE  TOCCATA,   CAPRICCIO,   SCHERZO,   ETC.  Par.  133d. 

of  CLEMENTI,  CRAMER  and  CZERNY. — LISZT,  three  Concert-etudes;  £tudes 
transcendentalcs. — MENDELSSOHN,  Etudes  op.  104,  Nos.  i,  3. — MOSCHELES, 
Studies,  op.  70. — RAFF,  "  La  fileuse,"  op.  157,  No.  2. — SCHUMANN,  op.  3. — 
RUBINSTEIN,  op.  23,  and  op.  81. — TSCHAIKOWSKY,  op.  40,  No.  i. — 

2.    THE  TOCCATA,   CAPRICCIO,   SCHERZO,   ETC. 

1  33a.  When  the  motive  or  figure,  upon  which  the  "figura- 
tion" or  dissolution  of  the  harmony  is  to  be  based,  assumes  more 
of  a  thematic  character,  and  thus  enters  more  essentially  into  the 
structure  of  the  composition  than  is  the  case  with  the  chiefly 
technical  figures  of  the  Study,  the  style  is  usually  designated 
Toccata  (especially  when  the  figure  is  small),  or  Caprice,  and 
Prelude.  Review  par.  126^. 

In  the  latter  species,  and  also  in  the  Impromptu,  Intermezzo, 
etc.,  the  harmony  frequently  appears  in  unbroken,  or  but  partially 
broken,  bulk. 

(b)  The    Scherzo   was    originally   nearly    identical   with   the 
"Caprice."       Later    it    was    substituted    for    the    Minuet    in    the 
Symphony,  Sonata,  and  Quartet,  and  adopted  the  time   (|)  of  that 
Dance.     Finally,   it   superseded   the   latter,  appearing   in  duple  as 
well  as    triple    time,   and  often  as  an  independent  piece,   without 
reference  to  the  Symphony. 

(c)  In   all   of  these    species    of  composition   the    element   of 
Melody,    it    must    be    remembered,    is    necessarily    al-ways  present 
in   a  more  or  less  apparent  and  assertive   degree,  but   neither  as 
conspicuously,  nor  as  continuously,  as  in  the  lyric  class.      Certain 
sections  of  an   Etude,   Toccata,   etc.,   or  of  a  Dance-form   (e.  g., 
the    "Trio"),  may   be   purely   lyric;    and,    as   already   stated,   the 
distinctions  of  style,  especially  among  the  etude-species,  are  quite 
vague, — often  scarcely  perceptible.     Review  par.    i26d. 

(d)  These  species  are  usually,   though  by  no  means  always, 
written    in    the    homophonic     forms.       In    this   case,    the    designs 
chosen  are  the  Song-forms, — rarely  with  "Trio,"  excepting  in  the 
Scherzo,   which  sometimes  has  two   "Trios." 

Examples  for  reference  : 

Toccata-species,  and  Prelude:  BACH,  Well-tempered  Clavichord,  Vol.  I, 
Preludes  i,  2,  5,  6,  15,  21;  Vol.  II,  Preludes  3  (ist  section),  12,  15;  Partita 
No.  i,  "  Gigue." — BARGIEL,  Iitude  and  Toccata,  op.  45. — SCHUBERT,  Momens 
musicals,  op.  94,  Nos.  4,  5. — SCHUMANN,  Arabesque,  op.  18;  op.  21,  No.  2. — 


Par.  lai.  OLD    DANCE-SPECIES.  333 

HELLER,  Praeludien,  op.  81. — CHOPIN,  Preludes,  op.  28;  op.  45. — ST.-SAKNS, 
Toccata,  op.  72,  No.  3. — MENDELSSOHN,  "Songs  without  Words,"  Nos.  8,  24, 
34,  38. — RUBINSTEIN,  Preludes,  op.  24,  Nos.  i,  4. 

Caprice,  Impromptu,  etc. :  CHOPIN,  Impromptus,  op.  29,  op.  51,  op.  66. — 
GABE,  Aquarelles,  op.  57,  Nos.  i,  3,  5;  Fantasies,  op.  41,  Nos.  2,  3. — GRIEG, 
op.  43,  Nos.  i,  4;  op.  62,  No.  4. — MOSZKOWSKI,  op.  7,  No.  2;  op.  36,  No.  6. 
— SCHUBERT,  Impromptu,  op.  90,  No.  4. — RUBINSTEIN,  Caprices,  op.  21. — 
TSCHAIKOWSKY,  Capriccio,  op.  8. — SCHUMANN,  Intermezzi,  op.  4;  op.  12, 
Nos.  2,  5,  6,  7,  8. 

Scherzo:  BEETHOVEN,  Pfte.  Son.  op.  2,  No.  2,  third  movement;  op.  26, 
second  movement;  op.  ^8,  third  movement. — CHOPIN,  Pfte.  Son.  op.  35,  second 
movement ;  Scherzos,  op.  20, 31, 39,  54. — GRIEG,  op.  54,  No.  5. — MENDELSSOHN, 
"  Songs  without  Words,"  No.  45;  op.  16,  No.  2. — SCHUMANN,  Pfte.  Son.  op. 
14,  second  movement;  op.  22,  third  movement;  op.  12,  No.  4;  op.  21,  Nos.  i, 
3,  6;  op.  26,  No.  3;  op.  32,  No.  i. — SCHUBERT,  Pfte.  Sonatas  Nos.  i  and  9 
(Peters  ed.)  third  movement  of  each. — HUMMEL,  Pfte.  Son.  op.  106,  second 
movement. — BRAHMS,  op.  4. 


CHAPTER    XXII. 

THE    DANCE-CLASS. 

i.    OLD  DANCE-SPECIES. 

1  34.  Very  many  of  the  older  dances  have  fallen  into  disuse, 
and  the  corresponding  musical  species  are  therefore  seldom  written 
expressly  for  the  purpose  of  dancing.  But  the  old  types,  with  their 
respective  rhythmic  peculiarities,  are  nevertheless  often  adopted, 
and  invested  with  the  characteristics  and  charms  of  modern  musical 
setting. 

For  the  list  of  old  dance-forms,  and  their  several  details,  refer- 
ence must  be  made  to  GROVE'S  dictionary,  or  some  standard  book 
upon  "  Dances,"  old  and  modern.  See  par.  i26c,  and  par.  127  ;  and 
examine,  carefully,  the  following  examples  of  these  dance-species 
as  found,  in  their  original  condition  (in  older  \vritings),  and  in  the 
idealized  expositions  of  more  modern  composers  : 

Alleman Je,  Courante,  Bourree,  Sarabande,  Passepied  :  BACH,  English 
Suites;  French  Suites;  Partitas. — LES  MAITRES  DU  CLAVECIN  (Litolff  ed.), 
Vol.  I,  pages  68,  69,  70,  82-86,  117-119,  166,  167,  189;  Vol.  II,  pages  16,  46,  47, 
109,  no,  174  (Tambotirni),  178,  221  (Galliardo). 

Gavotte :  BACH,  Engl.  Suites,  Nos.  3,  6;  French  Suites,  Nos.  5,  6  (Ex.  75 
of  this  book). — LES  MAITRES  DU  CLAVECIN,  Vol.  I,  pages  50,  191;  Vol.  II, 
p.  28. 


234  TIIE    MARCH.  Par.  136. 

(iigue :  LES  MA!TRES  DU  CLAVECIN,  Vol.  I,  p.  58,  74,  93,  132,  178,  192; 
Vol.  II,  p.  48,  50,  in,  142,  144,  189. 

Minuet:  BACH,  Engl.  Suite,  No.  4;  French  Suites,  Nos.  i,  2,  3,  6; 
Partitas,  Nos.  i,  4. — LES  MAITRES  DU  CLAVECIN,  Vol.  I,  p.  128,  143;  Vol.  II, 
p.  150,  187,  196,  200,  208. — HAYDN,  Pfte.  Son.  No.  i  (Cotta  ed.),  second  move- 
ment; Symphonies  and  String-quartets. — MOZART,  Pfte.  Son.  No.  9  (Cotta  ed.), 
second  movement;  No.  12,  third  movement;  Symphonies  and  String-quartets. 
— BEETHOVEN,  Pfte.  Son.  op.  10,  No.  3,  third  movement;  op.  22,  ditto;  op.  31, 
No.  3,  ditto. — SCHUBERT,  Pfte.  Sonatas,  Nos.  4,  8,  third  movement  of  each. 
— MENDELSSOHN,  Son.  op.  6,  second  movement. — GRIEG,  op.  57,  No.  i. — 
PADEREWSKI,  op.  14,  No.  i. 

Further:  BARGIEL,  Suite  of  old  Dances,  op.  7. — RUBINSTEIN,  ditto,  op. 
38. — MOSZKOWSKI,  Bourree,  op.  38,  No.  i. — RAFF,  Tambourin,  op.  204,  No.  6. 
— SILAS,  Gavotte  in  e-minor. 

2.    MODERN  DANCE-SPECIES. 

135.  The  most  prominent  place  among  modern  dances  with 
musical  setting  is  assigned  to  the  Waltz,  Mazurka,  Polonaise, 
Polka,  Tarantella,  Quadrille,  and  a  few  others  of  national,  rather 
than  universal,  importance.  Their  musical  exposition  is  sometimes 
brief  and  simple  ;  but  more  commonly  they  are  idealized,  or  elabo- 
rated into  "  Concert-pieces  "  of  considerable  length  and  freedom 
of  form,  without  neglect,  however,  of  the  distinctive  rhythmic 
peculiarities  of  the  respective  species.  Information  concerning  the 
latter  may  be  obtained  from  the  authorities  already  cited,  and  from 
careful  inspection  of  the  following  examples  : 

CHOPIN,  Waltzes;  Mazurkas  (especially  Nos.  i,  5,  6,  12,  13,  14,  17,  18,  20, 
22,  24,  25,  26,  32,  36,  41,  47)  ;  Polonaises  (especially  Nos.  i,  2,  3,  4,  6,  8,  9,  10) ; 
Tarantella,  op.  43;  Bolero,  op.  19. — JOHANN  STRAUSS,  a.  few  Waltzes  and  other 
Dances  (Schirmer  ed.). — BRAHMS,  Waltzes  for  4  hands,  op.  39;  Hungarian 
Dances,  for  2  or  4  hands. — DVORAK,  Waltzes,  op.  54;  Slavonian  Dances,  for 
2  or  4  hands,  op.  46,  op.  72. — GRIEG,  op.  12,  Nos.  2,  5,  6;  op.  38,  Nos.  4,  5; 
op.  47,  Nos.  i,  6;  op.  62,  No.  i. — LISZT,  Polonaise  in  E  major;  Tarantella 
{"  Venezia  e  Napoli"). — MOSZKOWSKI,  Waltzes,  op.  8;  op.  46,  No.  i.— 
RUBINSTEIN,  "  Le  Bal,"  op.  14. — ST.-SAENS,  Waltzes,  op.  72,  No.  4;  op.  104. 
— TSCHAIKOWSKY,  Mazurka,  op.  9,  No.  3. — WEBER,  "Invitation  to  the  Dance  " 
<  Waltz). 

3.    THE  MARCH. 

1  36.  Though  not  a  "Dance,"  in  the  specific  sense  of  the 
term,  the  March  belongs  in  the  foremost  rank  of  that  class  of 
musical  compositions  in  which  marked  rhythm  is  the  ruling  trait 
and  purpose. 


Par.  137.  CONCLUSION  :    CRITICISM.  235 

To  a  certain  extent  this  is  also  true  of  the  Polonaise  and  Minuet  (each  of 
which  might  be  denned  as  a  "March  in  triple  time  "),  the  Quadrilles,  and 
some  of  the  stately  old  dances  (Pavana,  Passamezzo,  etc.). 

The  March  is  written  in  duple  time  (£),  and  usually  in  the 
form  of  u  Song  *with  ''Trio"  (rarely  without  "Trio").  Its 
character  is  generally  vigorous,  though  the  special  type  depends 
upon  the  nature  of  the  procession  which  the  March  is  to  accom- 
pany and  regulate, — hence  the  distinctions :  Wedding-March, 
Funeral-M.,  Festival-M.,  Military-M.,  Quickstep,  etc. 

See  BEETHOVEN,  Pfte.  Son.  op.  26,  third  movement;  op.  lot,  second 
movement. — CHOPIN,  Pfte.  Son.  op.  35,  third  movement. — MENDSLSSOHN, 
"Wedding-March";  Priests'  March  from  Athalia,  op.  74. — SCHUBERT, 
Marches  for  4  hands  (Peters  ed.),  including  "Characteristic  Marches"  (| 
time)  op.  121. — SCHUMANN,  Marches,  op.  76;  op.  99,  Nos.  u,  14. — TSCHAI- 
KOWSKY,  Funeral-March,  op.  40,  No.  3. — BARGIEL,  "  Marcia  fantastica,"  op. 
31,  No.  3  (\  and  |  time). — BRAHMS,  "German  Requiem,"  second  number, 
first  section  (|  time). 

The  student  is  also  urged  to  examine  the  works  of  leading 
American  and  English  composers  in  the  homophonic  forms,  among 
which  many  exquisite  examples  of  the  conventional  styles  will  be 
found,  worthy  of  imitation. 


CONCLUSION  :  CRITICISM. 

1  3T.  In  his  judgment  of  his  own  compositions,  or  those 
of  other  writers,  the  conscientious  composer  or  critic  must  reason 
from  the  following  vital  considerations,  testing  each  question  in 
turn  with  the  utmost  objectiveness  and  fullness  : 

(1)  Is  the  work  sufficiently  melodious;  and  is  its  melodic  delineation 
striking,  agreeable,  and  ingenious  ? 

(2)  Is  the  Formal  Design  rational  and  clear? 

(3)  Is  its  Rhythmic  Structure  distinct  and  effective? 

(4)  Does   it  contain   sufficient  harmonic  and  modulatory  fullness  and 
charm  ? 

(5)  Is  the  demand  of   Contrast  adequately  respected ;  and  the  bane  of 
Monotony  avoided  ? 


230  CONCLUSION:   CRITICISM.  Par.  137 

(6)    Is  it  written  conveniently  and  sensibly,  with  regard  to  the  technique 
of  the  instrument  for  which  it  is  designed? 

{7)    Is  its  title  appropriate? 

(8)    Does  it  sound  as  well  as  it  looks  upon  the  paper? 

There  are  many  other  considerations  of  minor  importance. 
But  if  the  young  composer  can  honestly  affirm  each  of  these  main 
questions,  he  may  confidently  defer  all  other  details  until  he  shall 
have  secured  the  resources  of  contrapuntal  technique,  by  faithful 
study  and  exercise  of  the 

POLYPHONIC  FORMS  OF  COMPOSITION. 


THE    KND, 


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IRARY  FACILITY 


A    000  542  275     3 


